HSU, YUN PEI Major in haegum

Department of music The Graduate School Seoul National University

There’s a certain amount of Chinese musical influence on Korean traditional music, meanwhile by comparison it is similar sit

uation

in Taiwanese traditional music.  After long periods of accumulation and adaption, it has become its own

with

Taiwanese musical features.

Pak-koán (北管, ‘Beiguan’ in Mandarin) music came from northern China,

where

now it is non-existent but has been only inherited in Taiwan.  Iù-khe

k (

細曲, hereinafter ‘refined songs’), among Pak-koán music’s four subcategories, is a singing style accompanied

with

instruments. The subject of this comparative thesis foc

uses

on two pieces of music: a refined song that’s considered an artistic song in Taiwanese Pak-koán - Chiau-kun Hô-hoan (昭君和番) and Korean artistic Gagok of female vocal Ujo

duggeo,

analyzed and studied from the perspectives of musical features and categories such as background, composition and performance.

The origin of Gagok could be traced back to the Go Ryeo Dynasty,

when there was

a music form called “Man j

ung

seok

dae

yeop (慢中數

)”. It

underwent

some

division

and other

development during

the 大業

Korean Dynasty,

what was

then “seok

dae

yeop”

was divided

into Junggeo (中舉) - pyeonggeo (平舉) -

dugeo(

頭舉) – soyong(騷聳) - nong( ) 弄 - nang( ) 樂 - pyeon( ) 編 and such variations, forming

what

is now in the contents of a Gagok in Korea. The place

where

Iù-khek

was

being taught is named “Khe

k-koán”, which was

formed about 300 years ago. The exact time

when

it

was

introduced is

unknown.

The musical composition of Pak-koán refined songs can be

dissected

into the follo

wing

fo

ur

forms: suite of large and small labeled tunes, independent large labeled tunes, independent small labeled tunes, and small tunes. The analysis s

ubject

Chiau-kun Hô-hoan is a set of large labeled tunes,

which usually

composed of two or more t

unes,

formed by five tunes.  The Dae Yeoeum melody of the Gagok is of fixed style, however the prelude of Pak-koán refined songs can be any instrumental piece of the musician’s choice.

In regard to the instrument arrangement and performance style, Pak-koán refined songs’s accompaniment instrumentation is an ensemble of silk (string) and bamboo (wind) instruments consisting of thê-hiân (提絃, also called

khak-á-hiân,

殼子絃), hô-hiân (和絃), sam-hiân (三絃, the three-stringe

d

plucked-string instrument), phín ( , 品 bamboo fl

ute),

iâng-khîm (洋琴, hammered

dulcimer),

and pán ( , 板 clappers). The Gagok is composed

with

Gomungeo. There's no

distincti

on between male vocal or female vocal in Pak-koán refined songs, it follows the order of the music. If the time is limited, then only the core portion

would

be played, the performance

will

be presented

with

the singer holding a pair of pán accompanied

with

silk and bamboo instruments. In the case of Gagok, in the early

days

only males sing, now there's male portion, female portion and male-female ensemble. The ensemble can be further into the two styles of Ujo and

gyemyeonjo.

To

understand

the musical features of Pak-koán refined songs and Gagok, this paper focuses on the Pak-koán refined song, Chiau-kun Hô-hoan Jī-pâi, and Gagok Ujo Dugger, and present a compare and contrast in respect to the lyrics, vocalization, rhythm,

key

and accompaniment. In respect to the lyrics, both

use upper

class vocabularies. For Pak-koán refined songs,

when words

are separated for singing, it is called "pronunciation

decomposition",

and another method

when words without

meaning are added is called "sound filling". This is very similar to vocal articulation in Gagok - vowel

decomposition

and

word

filling, like the two sides of the same coin.

In respect to vocalization, there are the coarse sound

which

is real voice, and the soft sound

which is

falsetto. This is also similar to the soft vocalization (細聲音) of a Gagok. The powerf

ul

vocalization of Pak-koán refined songs in comparison to the soft vocalization of Gagok

which

changes

with

the tone, are very

different.

In Pak-koán refined songs, once coarse sound is chosen, the

whole

song has to be sung in coarse, likewise, once soft sound is chosen, it has to stay that

way

for the remainder of the song. This is very

different

from Gagok that can change between real voice and falsetto

within a

song.

The main scale for both Pak-

koán

refined songs and Gagok is sol-la-do-re-mi. Pak-koán refined songs

uses

seven-note scale, and every song

uses

the same

key,

melody free flows and no rule to the ending note. Ujo pyeongjo also

uses

the pentatonic scale, there's a certain style of

grace

note, and ending note is fixed.

In respect to rhythm, Pak-koán refined songs

uses duple

and

quadruple

meters. In contrast, Gagok

uses

a combination of triple and

duple

meters, forming a bigger length of sixteen-meter. Looking at the accompaniment, the singing melody of Chiau-kun Hô-hoan Jī-pâiand the melody of the instrument thê-hiân are similar, and thê-hiân is also the focal instrument. The accompaniment melody of Ujo Dugger and singing melody are almost the same, Gomungeo

serves as the main instrument, and

grace

notes of

daegeum

are many more and much more

difficult

compared to other instruments.

Although there's no

direct

exchange between Taiwan and Korea, but such similarities of traditional music styles that are inherited and preserved in its own country can be shown through comparisons.

With this study the author hopes to promote further exchange and inter-research between the two

genres

of Asian music.

keywords:

Taiwan music,Pak-koán,Iù-khek, refined songs, Chiau-kun Hô-hoan, Korean traditional Female Part of Gagok,Ujo Dugger, Kong-tshe-phó, ͘ vocal articulation

Student Number

: 2016-22144

中文摘要