A Study on the Rhythmic Pattern ( Jangdan) of Gyeongbokgung Taryeong in Elementary and Secondary School Music Textbooks According to the 2015 Revised Music Curriculum

This study aims to establish the accurate application of the jangdan (rhythmic pattern) name for the Gyeongbokgung Taryeong, a Gyeonggi folk song included in elementary and secondary music textbooks based on the 2015 revised music curriculum. To achieve this, the structural characteristics of the jangdan in Gyeongbokgung Taryeong were compared and analyzed using textbooks, theoretical references, musical scores, and actual performance audio and video materials. The research findings are as follows: First, Gyeongbokgung Taryeong is presented with the Jajinmori jangdan in elementary school textbooks and the Jajintaryeong jangdan in secondary school textbooks. Additionally, theoretical references and dictionaries label it as Jajintaryeong or Bokkeumtaryeong, while musical scores compiled by performers refer to it as Jajinmori, highlighting discrepancies in terminology. Second, Jajintaryeong is a faster variation of the Taryeong jangdan, commonly used in Gyeonggi shamanic music and instrumental ensembles (Daepungnyu), with the fourth beat left empty during performance. In contrast, Jajinmori is a fast 4-beat jangdan used in Sanjo and Pansori, where the fourth beat is filled, except in cadential forms. This distinction reveals clear differences in performance methods between the two jangdan. Third, the basic rhythmic pattern of both Jajin Heoteun Taryeong and Gyeongbokgung Taryeong is ‘♩. + ♩. + ♩. + ♩.’ However, the rhythmic pattern ‘♩ + ♩ + ♩’, frequently appearing in Gyeongbokgung Taryeong, does not occur in the Jajin Heoteun Taryeong piri score. This suggests that the rhythmic characteristics of Gyeongbokgung Taryeong do not align with the Jajintaryeong jangdan. Fourth, in actual audio and video recordings of vocal and dance performances, Gyeongbokgung Taryeong is consistently performed with the Jajinmori jangdan, and not with Jajintaryeong or Bokneun Taryeong. Fifth, the use of the Jajintaryeong jangdan name in textbooks appears to rely more on theoretical references and dictionary entries than on actual performance practices. Through this analysis, the study provides a basis for the accurate application of the jangdan name for Gyeongbokgung Taryeong. It is hoped that this research will serve as a theoretical foundation for the application of folk songs and jangdan in future music textbooks, leading to diverse follow-up studies.