북한 ‘민요풍 노래’에 나타난 민요적 전통성

To examine traditionality revealed in minyo(folk song)-style songs of North Korea, I have examined the scales on the basis of traditional minyo-mode of 470 pieces included in Chosun Music Complete Collection: Folk Song-Style Songs Ⅰ, published in 2000. It appears that they adopted various scales such as tetratonic, pentatonic, hexatonic, heptatonic scales. The songs in tetratonic scale do not appear except in <Myeongtaesiri>, which has more of Seodo minyo elements rather than those of the mode that the composer intended. The tones used in the songs in pentatonic scale, which is the most traditional, appear in diversity as do-re-mi-sol-la, re-mi-sol-la-do, mi-sol-la-do-re, mi-ra-si-do-re, sol-la-do-re-mi, taking 83.5 %, the most of minyo-style songs. Although some of them are in combined scales of the traditional minyo mode, the songs in hexatonic and heptatonic scales are mostly in combined scales of the western mode. It is said, “these songs in combined scales are the songs that adopted 7 keys as passing tones, being based on pentatonic scale,” “they are kept of their intrinsic characteristics but still more modernized, forming a distinctive character of minyo-style songs of today by faithfully reflecting the revolutionary reality, and they are playing a significant role in advancing our songs in various aspects.”There could be cons and pros to the modern change of minyo-style songs in North Korea in regard to inheritance of tradition but this is meaningful. That is, we should not overlook the fact that many songs in “minyo-style”, regardless they are in the traditional minyo mode or not, are being composed and popularized in North Korea, unlike in South Korea where the tradition of Sinminyo(New Folk song) has almost died out.