영남 농악과 사물놀이의 별달거리를 활용한 초등 타악 교육 방안

Abstract

'Byeoldalgeori' is a rearranged piece based on Yeongnam nongak . Not only Jinju-Samcheonpo nongak 's 'Byeolgutnori', which is directly mentioned as the background of the creation of 'Byeoldalgeori', but also Geumneung Bitnae nongak's 'Panan dadeuraegi (sorigut )' are closely related to 'Byeoldalgeori'. This study compares and analyzes the musical composition and characteristics between the three musical pieces and examines musical expressions of the percussions shown in nongak (also called pungmul ; percussion ensemble music) and samulnori (a modernized version of pungmul ). Thus, it aims to find educational plans that can be used for elementary students to learn traditional percussions.
 In order to examine the musical composition and characteristics of samulnori and nongak, this study divides the entire piece into instrumental and vocal elements to explore musical characteristics and effects. In addition, it grasps the structure of the jangdan (rhythmic patterns) by identifying it with sobak (lit. small beat; subdivided beat) and bak (beat) according to the rhythmic structure, and analyzes phrases and whole pieces based on the rhythmic type.
 As a result, the musical composition and characteristics are derived as follows.
 First of all, both nongak and samulnori include vocal and instrumental elements, which are arranged in a balanced way, based on hwimori jangdan (four beats with duple subdivisions). Vocal elements include lines, slogans, and rhymes, each of which plays a role of giving signals, praying for wishes, and conveying daily situations, respectively, enriching the contents of the music. The rhythm patterns of hwimori jangdan can be seen as variations, and they form a musical phrases such as a type of one jangdan (one jangdan periodically), a type of dual jangdans (two contrasting jangdans periodically), and a stereotyped type (the fixed number of jangdans with the fixed rhythmic patterns and order periodically). The style of call and response and the style according to hanbae (tempo) in an entire piece are found.
 This study proposes an educational plan using the musical expressions of Korean traditional percussion music. First, in terms of vocal elements, learners can express various contents in slogans, and rhymes to match hwimori jangdan . Second, in terms of instrumental elements, they can learn various rhythm patterns of hwimori jangdan and then make various musical phrases combining them in a new way.
 Third, they can properly arrange vocal and instrumental elements and introduce the style of call and response to make the entire piece well-structured. Lastly, they can properly utilize the function of conventional hwimori jangdan to realize the form according to hanbae in the entire piece.