This dissertation examines the changes of singing methods of seodosori (Professional Singing of North-Western Provinces of Korea) in the 20th century focusing on four songs of “Gwansanyungma (A Lament for Motherland),” “Susimga (A Song of Woebegoneness),” “Gongmyeongga (A Song of Kongming),” and “Nollyangsageori (or Nollyang, A Song of Enjoyment on the on the Crossroads)” sung by JANG Hak-seon (1905-1970) and O Bok-nyeo (1913-2001). Followings are summaries of each chapter. In chapter II, I explore the process of historical development of seodosori and its musical characteristics. During Joseon dynasty, seodosori had been developed under the influences of its particular geographical location and political condition that Seodo (collectively the north-western region, Pyeongan and Hwanghae Provinces) had been an important traffic route to China and the people in these provinces had been politically discriminated. The activities of seodosori musicians were originated from naltangpae (popular male professional-entertaining troupes from Pyeongyang) at Pyeongyang at the end of Joseon dynasty. During Japanese colonial period, various seodosori were performed and recorded by professional female entertainers belonged to female entertainer associations. The music contents performed by female entertainers have been handed down as today’s traditional seodosori which are designated as National Intangible Heritage. Also, I classify the types and characteristics of seodosori in order to prepare for the next chapters in which musical analysis of seodosori are discussed. In chapter III, I discuss following results I earned by studying the two singers’ artistic tendencies and by analyzing their distinctive singing methods based on the four songs. In “Gwansanyungma,” four types of singing methods—tteoneunmok (vibrating sound), chineunmok (sound using quick-falsetto appogiatura), kkineunmok (sound using quick-stop before moving onto the next tone), and deolmicheong (sound using head voice and chest voice together)—are used. Especially tteoneunmok demonstrates various singing methods that are subdivided into nine different styles. While chineunmok and deolmicheong are used by both singers, kkineunmok is only used by O Bok-nyeo. Especially in “Gwansanyungma,” diverse styles of vibrating sound are practiced. In “Susinmga,” five different singing methods are used: tteoneunmok, chineunmok, kkineunmok, heulleonaerineunmok (sliding-down sound), and hahaenghaneunmok (descending sound). In the song, three different style of tteoneunmok are used, and neurige tteoneunmok (slow-vibrating sound) is only used by JANG Hak-seon. The rest singing methods are used by both singers. Generally speaking, pyeongeuro tteoneunmok (moderate-vibrating sound) is frequently applied in “Susimga.” In “Gongmyeongga,” five singing methods of tteoneunmok, chineunmok, kkineunmok, heulleonaerineunmok, and hahaenghaneunmok are applied. As five different styles of tteoneunmok are used, O Bok-nyeo applies chineunmok, kkineunmok, and heulleonaerineunmok while hahaenghaneunmok is used by both singers. O Bok-nyeo employs about twice more singing methods in her song than JANG Hak-seon. Nevertheless, O utilizes less singing methods in “Gongmyeongga” than in “Gwansanyungma.” In “Nollyangsageori,” four singing methods of tteoneunmok, chineunmok, kkineunmok, and mangneunmok (blocking sound) are demonstrated. For tteoneunmok, 11 different styles are used, and O Bok-nyeo utilizes more various tteoneunmok than JANG Hak-seon. Both singers applied chineunmok, and only O Bok-nyeo uses kkineunmok and mangneunmok. More various styles of tteoneunmok are applied in “Nollyangsageori” than “Susinmga” and “Gongmyeongga.” In Chapter IV, I investigate the musical characteristics of the two singers by comparing and classifying their singing methods used in the four songs. Jang and O display differences in their singing methods, melodies, rhythms, and breathings in all four songs illustrating seodosori have been changed over time. In “Gwansanyungma,” O uses more various singing methods than Jang. O demonstrates skillfully structured singing by applying various singing methods while Jang sings of simple melody with natural voice. Generally, in “Susimga,” the structures of melodic progression and the singing methods are matched in many parts. However, while Jang sings with short breathing, O demonstrates more emotional expression and delivery power of her music than Jang by controlling her breathing evenly according to the contents and phrases of texts, and properly applying melodic progression and singing methods to them. In “Gongmyeongga,” Jang delivers the content of the text by focusing on structural melodic progression of the song with fast tempo while O expresses the song in detail by using twice more singing methods than Jang in order to maximize the description of the text. In “Nollyangsageori,” O utilizes far superior number of singing methods than Jang. While Jang sings the song in syllabic style comfortably following the basic melodic line, O makes the song more interesting by applying various singing methods matching with the narratives of the text and the melody lines. The singing methods used in seodosori are classified into seven categories: tteoneunmok, hahaenghaneunmok, heulleonaerineunmok, chineunmok, kkineunmok, deolmicheong, and mangneunmok. Followings are musical characteristics of each singing method. First, tteoneunmok is subdivided into 16 different styles and each style also comes with various forms. Pyeongeuro tteoneunmok is applied for describing restful emotion, and this style is used by both Jang and O in all four songs. This singing style is appeared not only in middle register, but also in low and high registers. Furthermore, it is utilized for two notes in sequence as well as for one note. For neurige tteoneunmok, the speed of vibration is so slow that a vibrating tone is also notated as a pitched-tone. This style is used by both Jang and O in all three songs, except for “Gongmyeongga,” in sections of songs in slow tempo. Neurige tteoneunmok is subdivided into three types: one note vibrating type; two notes vibrating type; and above and below notes vibrating type. Especially in “Nollyangsageori,” various types are appeared, and above and below notes vibrating type is only used in “Gyeongballim.” To sing with above-note vibrating technique, one sings the vibrating note slightly higher than the original note, and both Jang and O utilize this type of singing method. One note vibrating type and two notes vibrating types are frequently used in “Gongmyeongga” and “Apsantaryeong.” Heulleonaerimyeo tteoneunmok (sliding-down vibrating sound) is a singing method in which a singer sings notes from e to d or c' to a making them sliding-down with vibrating sound. This technique is occasionally appeared in Jang’s “Gwansanyungma” and O’s “Gongmyeongga.” Nulleo tteoneunmok (pressing-down vibrating sound) is a singing method in which a singer sings vibrating sound while pressing-down his/her vocal cords, and usually appeared from g to a notes progression. For hahaenghayeo tteoneunmok (descending-down vibrating sound), a singer makes vibrating sound after descending the melody. For gipge tteoneunmok (deep vibrating sound), a singer sings with deep vibrating tone on g note. Gipiollyeo tteoneunmok (deep-raising vibrating sound) is a singing method in which a singer sings vibrating sound after pushing up the note with deepened timbre. These four kinds of vibrating sound are demonstrated in O’s “Gwansanyungma,” “Nollyang,” “Apsantaryeong.” In sogmogeuro tteoneunmok (head-voice vibrating sound), note g is vibrated using head-voice, and this technique is appeared in O’s “Gwansanyungma” and “Nollyang.” For sogmogeuro jalge tteoneunmok (narrow head-voice vibrating sound), a singer sings the note with narrow vibration using head-voice, and it is utilized in Jang’s “Apsantaryeong” and O’s “Yeokkeum susimga.” Sogmogeuro ppeotdaga ollyeo tteoneunmok (head-voice stretching-raised vibrating sound) is a singing technique in which a singer sings a long-stretched note with head-voice first and then pushing it up to make vibrating sound. It is practiced in “Gwansanyungma” sung by both singers. Janjanhage tteoneunmok (narrow vibrating sound) is a singing method sung with narrow vibration while ppareuge tteoneunmok (fast vibrating sound) is a singing technique with faster vibration than usual vibration. These two kinds of vibrating sound are used in Jang’s “Gwansanyungma,” “Gongmyeongga,” and “Nollyang.” Chimyeo tteoneunmok (striking-vibrating sound) is a singing technique in which a singer hitting a note while vibrating the original note, and it is appeared in O’s “Gongmyeongga.” For wiro jalge tteoneunmok (raising up-narrow vibrating sound), one pushes up a note slightly making narrow vibrating sound. This singing technique is rarely practice, yet O uses it in her “Gongmyeongga.” Chimyeo hahaenghayeo tteoneunmok (striking-down vibrating sound) is appeared when a melody line descends from a to d or A to G, using striking sound while the melody goes down and vibrate the ending note. This singing technique is considered to be a characteristic of “Gwansanyungma” sung by both Jang and O. Second, hahaenghaneunmok is a standardized melodic line appeared when the melody of a song descends. It is commonly applied in most seodosori in order to connect melodies naturally and used for half-cadences and cadences. Both Jang and O utilize it in “Susimga,” “Yeokkeum susimga,” and “Gongmyeongga” at almost same sections of the songs. Third, for heulleonaerineunmok, a singer slides down notes that are in relation of major 2nd or minor 3rd. This singing methodis classified into middle register style and high register style. The middle register style is practiced by both Jang and O in “Susimga” and “Yeokkeumsusimga” while the high register style is appeared in O’s “Gongmyeongga.” This technique is usually used for sorrowful scenes, except when it comes in the beginning of a song to illustrate vigorous texts. Fourth, in chineunmok, a quick-falsetto appoggiatura from above or below is used. Jang uses it in all her songs except “Gongmyeongga” meanwhile O applies the technique in all four songs. As various kind of chineunmok are used, this singing method is further subdivided into four different styles: naeryeo chineunmok (sound with downward quick-falsetto appoggiatura), ollyeo chineunmok (sound with upward quick-falsetto appoggiatura), wiaraero chineunmok (sound with up- and downward quick-falsetto appoggiatura), and dandok chineunmok (sound with single quick-falsetto appoggiatura). Naeryeo chineunmok is utilized to describe calm and sorrowful texts. In contrast, ollyeo chineunmok is applied for joyful and charming scenes. For wiaraero chineunmok, as a singer uses chest voice and falsetto alternatively in very fast manner, it provides virtuosic technique elaborating the structure of the song. In dandok chineunmok, one sings c' for given amount of time, and then changes to d in advance of half beat before moving onto the next melody line. Fifth, kkineunmok is a singing method that blocking a singer’s vocal cords to produce a quick sound, and then move onto the next note. Jang uses it in “Susimga” and O applies it in all of the four songs. This technique makes the song sophisticated by giving a sudden break to a blended melodic line. Because it requires virtuosic technique, this method is only used by professional singers. Sixth, in deolmicheong, one sings with falsetto and quickly changes to chest voice. Both Jang and O practice it in “Gwansanyungma.” In deolmicheong, the beauty of sound itself is maximized by using falsetto and chest voice alternately attempting to produce changes of vocal techniques dramatically. Seventh, in mangneunmok, one shortly block his/her vocal cords before moving onto the next note providing charming sound and expectation for the next melody line. O uses only once in “Nollyang.” In sum, Jang Ha-seon and O Bok-nyeo display general musical expressions of seodosori: however, they demonstrate chronological differences as Jang represents seodosori of Japanese colonial period (1910-1945) while O presents seodosori of after Korean War (1950-1953). Jang’s singing style is simpler than O who actively utilizes various vibrating singing methods. Nevertheless, I interpret Jang’s singing style not being just simple. Rather, because Jang has powerful voice and outstanding musicality by nature, she does not have to utilize various singing methods. Meanwhile because O has feeling of responsibility to transmit her music to younger generation, she uses and apply various singing methods in her songs. The differences of singing methods found in the two singers reflect the socio-cultural changes surrounding the two singers as well as personal differences demonstrated through their musicality. Jang Hak-seon became a representative seodosori singer in the first half of the 20th century as she actively performed during the Japanese colonial period when seodosori was popular. O Bok-nyeo contributed to establishment of today’s seodosori tradition which has been continued through the Intangible Cultural Heritage System by organizing various singing methods of seodosori which was in danger of disconnection after Korean War. I certain that the two singers significantly contributed to the development of seodosori today, and hope that this dissertation can be a help for following generation of seodosori musicians and scholars. ,免费韩语论文,韩语毕业论文 |