산조가야금을 활용한 민요의 지도 방안 연구

Abstract

The weight Korean traditional music occupies in music education has increased from the First Curriculum through 2007 Revised Curriculum. So professional instructors have been sent to elementary schools for more effective instruction of Korean Tradition Music. From 2011, Folk Song instructor pool will be implemented at middle and high schools. This study begins to help learners understand Korean music using Gayageum which can complement Jang-gu, a rhythm instrument and has a purpose to help them to feel tones and elegance of Korean traditional music. Pianos are appropriate to represent accompaniment and rhythms of western music, and Kayageum is good to represent accompaniment and rhythms of Korean Traditional Music and deliver its tones and senses of pitch. That is, the taste and elegance of Korean Traditional Music can be effectively described through deep tones of Sanjo-Kayageum using Sigimsae of folk songs. It is difficult and limited to write our folk songs in western notes. Our sound system can not be organized according to the music notation of western music. That is, folk songs do not have stylized melodies as they are handed down orally. The length of music is different, singing skills of the same songs are different according to times and places, and Sigimsae are different according to singers. As a genre of Folk Song is creative enough, it is difficult to write it in notes. Based on the results of the analysis on Folk Song in 16 kinds of music textbooks, this study discovered that they consist of 6 key signatures (G, F, Eb, D, C, and Bb). This study aims to help students consider six key signatures as one key signature(G). For the purpose, we analysed appearance sound and finalis of each local folk song and categorized them into finalis and Sigimsae according to Tory. There are 16 kinds of music textbooks for the 1st grade of middle schools where the present 2007 Revised Curriculum is applied. This study selected 36 songs related to the studies except songs to listen, notes of Pansori and Sijo in music textbooks and the results are presented as follows: First, this study searched the appearance sound and finalis of melodies and divided them according to tory. Second, key G may be played according to notes and above fifth Third, key F is played with 1 tone higher. Fourth, Eb song is played with third higher. Fifth, key D is played with fourth higher. Sixth, key C is played based on the note. However, Namdo Folk Song can be properly expressed when played with 1 tone lower than in notes. Seventh, Bb is played with 3 tones lower than in notes. As a result, it was discovered that Sanjo-Kayageum should have a pile of sol scale based on a pentatonic scale five tones. It is expected that this study will be useful to help students have senses of pitch in singing Folk Song.