여창 가곡 반엽 ‘남하여’ 연주에서의 박의 미시적 타이밍의 변화에 관한 연구

Abstract

Banyeop ‘Nam ha yeo’ for female singer (accompanied by daegeum, geomungo, and janggu)is a piece composed of two parts, one of which is different from the other in terms of tempo and mode. Thus, It can be observed what different micro-timing pattern on the beat-level reveals in the temporal fluidity of the 16-beat jangdan according to the change of tempo. The micro-timing on the beat-level is measured by the interval of inter-onsets(IOI) of janggu, and the location of the temporal stresses is observed by comparing IOI values of three performances by the same player. In the high tempo section, the beat tends to be played relatively evenly, but in the slow section, the intervals between beats are much more fluid. Investigating the beats showing the higher IOI-value in all three performances, no change on the micro-timing pattern was found with the change of tempo, and a difference was found between the part of the instrumental music (prelude) and the part including the vocals. In the instrumental part, the metrical structure centered on the 1st beat and 12th beat appears, while grouping structure has a greater influence on shaping time of the performance than metrical structure in the vocal-including part. As a result, the advantage of 12th beat is emphasized, and 3rd or 4th beat became more important than 1st since vocals comes in. In conclusion, we discuss music-theoretical significance of this result, comparing with the results of other studies conducted abroad.