리듬과 소쉬르

장석원 ( Jang Seok-won ) 국제어문학회 ( 구 국제어문학연구회 ) 2017 국제어문 Vol.0 No.73

앙리 메쇼닉의 리듬론은 현대시의 리듬을 이해하기 위한 개념적 도구를 제공한다. 이 논문에서 우리가 주목한 것은 메쇼닉의 리듬론이 소쉬르의 언어학에서 출발했다는 사실이다. 우리는 소쉬르가 제시한 언어의 특성과 리듬의 특성이 어떻게 연동하는가를 살펴볼 것이다. 소쉬르를 통해 얻은 언어의 본질과 우리가 이해하고자 하는 리듬의 특징 사이에는 유사성이 발견된다. 리듬은 모든 디스쿠르에 존재한다. 이러한 리듬의 특성 중에서 우리가 논의의 중점에 둔 대상은 시 텍스트의 리듬이다. 시의 리듬은 제반 리듬의 양상 중에서 가장 복잡한 경우이다. 언어의 본질에서 파악된 `가치` `체계` `역동성` `자의성` 등등의 개념이 시의 리듬이 지니는 특성으로 전이될 수 있다. 시의 리듬은 고정된 구조가 아니라 의미와 연관되는 가변적 체계이다. 우리가 리듬과 언어의 근원·특성·기능을 `통사―체계―차이―가치`의 연합 과정으로 집약할 수 있었던 근거는 소쉬르의 언어학에 있었다. 이러한 관계를 통해 우리는 리듬이 언어의 본원적 특성임을 확인한다. 리듬은 담화 속에 출현하는 제 표시들의 조직화이다. 리듬은 의미와 담화가 창출하는 힘의 조직화이다. 다시 언급한다. 리듬은 형식적인 도식이 아니다. 리듬은 영원성을 추구하지 않는다. 리듬은 우주적 질서로 귀결되는 선험적인 운율학적 개념이 아니다. 리듬은 고정되지 않는다. 리듬은 도식이 아니라 변형이다. 리듬은 하나의 원칙이 아니라 다항을 구성하는 복수성이다. 리듬은 의미작용 전체를 관할하고 조직하는 힘이다. Henri Meschonnic`s rhythm of the theory is a powerful tool to understand the rhythm of contemporary poetry. The fact that we note in this thesis is that the Meschonnic`s rhythm started from Saussure`s linguistics. The characteristics of the language and rhythm of the speech are interlocked. There is a similarity between the nature of the language and the characteristics of the rhythm. Rhythm exists in every discour. The focus we place on the discussion is the rhythm of the poetry text. The rhythm of the poetry are most complex. The concept `value`, `system` `dynamism` `arbitrary` of a language, is transferred to the rhythm characteristics of the poem. The rhythm of poetry is not a fixed structure. The rhythm of poetry is a variable system that connects with meaning. The origin, nature and function of rhythm and language can be aggregated into the combined process of `syntax― system―difference―value`. This is the linguistic science of Saussure. We confirm that the rhythm is the essential characteristic of the language. Rhythm is the organizing of all the elements that appear in the discour. Rhythm is the organizing force of power generated by meaning and speech. Refer to again. Rhythm is not a formal schema. Rhythm is not a cadence concept that leads to cosmic order. Rhythm does not seek immortality. Rhythm is not a cosmic order. Rhythm is not fixed. Rhythm is not a schematic. Rhythm is a variant. Rhythm is not a principle. Rhythm is the redundancy of the multiple. Rhythm is the force that governs and organizes the whole sense of meaning.

영상과 음악의 리듬으로 형성되는 영화의 시청각적 리듬 특성

이상윤 한국음악교육공학회 2011 음악교육공학 Vol.- No.13

본 논문에서는 영화에 음악이 함께한 영화장면의 분석을 통해 영상과 음악이 리듬으로 상호간에 조합되는 영화의 시청각적 리듬 특성을 연구하였다. 일반적으로 영상의 리듬은 시간적 리듬과 더불어 공간적 리듬을 함께 가지고 있다. 반면에 음악의 리듬은 시간적 리듬만을 가지고 있으며 박절적이다. 작품을 분석해본 바에 의하면 영상과 음악이 함께하는 장면에서 영상의 편집리듬이 음악의 박절 구조처럼 구성될 때는 영상의 시간적 리듬이 음악의 시간적 리듬에 의존적이게 된다. 또한 영상과 음악의 템포가 일치할 경우 대사와 음향효과와 같은 리듬적 동기화가 상호간에 발생할 수 있다. 그리고 음악의 시간적 리듬과 영상의 움직이는 사물에서의 리듬이 같은 맥락으로 구성될 때 이것은 영상의 고정된 사물에서의 리듬과도 연관되어 총체적인 시청각적 리듬의 관계를 같은 맥락으로 형성할 수 있다. 마지막으로 영상과 음악 모두가 반복을 통한 규칙적인 리듬일 때도 리듬적 일치가 발생하는데, 이후 영상이 반복적인 리듬에서 벗어나게 되면 시퀀스의 변환과 같은 스토리의 전환을 가져다준다. 분석에 따른 이러한 결과는 영화의 제작에 있어서 특히 영상편집과 음악 제작 등과 관련하여 충분하게 고려되어야할 사항이다. In this paper, the characteristics of the visual-auditory rhythms formed from combination of image and music rhythms were researched through analyses of film scenes including both image and music. Generally, the rhythm of image has both temporal rhythm and spatial rhythm. On the other hand, the rhythm of music has only temporal rhythm and has the periodical repetition of fixed meter. According to the analyses of film scene, the temporal rhythm of image depends on the temporal rhythm of music when the rhythm of image editing is similar to the structure of the rhythm of the periodical repetition of fixed meter of music. Rhythmic synchronization can occur between image and music when the tempos of image and music coincide each other. When the temporal rhythm of music and the rhythm of moving image in a scene are configured in the same context, they also relate to the rhythm of fixed image in a scene. Therefore, the overall visual-auditory rhythms can be formed in the same context. And the rhythms of image and music coincide each other when both the image and music rhythms have regular rhythms including repetition. But if the rhythm of image deviates from this repetitive rhythm, a change of story can occur at the point such as the translation of one sequence to another. According to tne results of these rhythm analyses in film scenes, the characteristics of the visual-auditory rhythms formed from combination of image and music must be considered sufficiently for the process of film production, specially such as film editing and film music production.

현대시 교육을 위한 리듬의 재이해

박성근(Bak, Seong-geun) 국어교육학회 2016 국어교육연구 Vol.61 No.-

Rhythm is one of the essential elements in poetry. Generally, rhythm arouses a particular sentiment or atmosphere in readers through its signifiants equipped with physical sound image. Also, rhythm gets to be formed by not only its signifiant but signifié, too. Of course, in poetic words, both their significant and signifié exist in a way of connecting different areas. However, in modern poetry education based on ‘here, now’, understanding rhythm seems to be limited to the signifiant. Therefore, this study has examined the subject matters related to rhythm in current high school literature textbooks to analyze the practice and figure out the new direction. Rhythm is not just a horizontal concept simply having its temporal length but a vertical concept, too, having a spatial height combined to readers’ sentiment. It means that rhythm is not two-dimensional but three-dimensional concept. If rhythm is understood as some concept of tempo, each line having an identical amount of time physically will end up being regarded as the same rhythm. However, even with a subtle change resulted from any addition or omission of a postposition or ending, we clearly get to experience some emotional movement. Also, syntactically, too, by changing the arrangement of phrases, different meaning can be formed. Of course, in poetic literature, not just external but inner rhythm exist, too. But the focus of this study is not on whether rhythm is revealed either consciously or unconsciously. Also, it does not deny the fact that rhythm is associated with meaning. Yet, in that rhythm is related with the signifié, and here, meaning is constructed not only by the significant but by readers, too, this researcher intends to find the agent that forms rhythm should be the readers. Also, this study is going to see the concept of rhythm gets to be formed according to the poetic meaning by regarding it as some three-dimensional object built by time and space. In other words, poetic meaning is prior to rhythm. Therefore, sometimes, some irregular rhythm can be formed by the cracks of poetic meaning. In fact, rhythm makes the mind of readers some kind of place. Such work of reconceptualizing rhythm is expected to be significant when explaining different phenomena in modern poetry in which many signifiants exist disturbingly and a poem gets longer.

한국 현대시의 리듬 이론 연구: 역사와 현황 (3) -1930년에서 해방 전까지-

조재룡 고려대학교 한국언어문화학술확산연구소 2022 Journal of Korean Culture Vol.59 No.-

Rhythm studies conducted after 1930 began by investigating the characteristics of the Korean language. Cho Yoon-jae suggested that Joseon dynasty's poetry, unlike Western and Chinese poetry, not only lacks ‘accent’ and ‘pitch’, but also cannot operate ‘rhyme'. He defined ‘rhythm’ as ‘rhyming beauty’ induced by ‘circulation of emotions’. Along with rhythm, a new approach came to the fore that rhythm in Joseon dynasty’s poetry is in fact based on the number of syllables. Cho Byeok-Am, while criticizing Kim Ok for his concept of rhythm based on fixed verse, emphasizes the inseparability of poetic content and form. Free verse, formed on internal rhythm instead of external and formal meter, is a new form of poetry free from metrical constraints, yet to be identified. Rhythm began to be discussed to search for ‘poetic form' along with the advent of free verse. However, the dichotomy between ‘intrinsic, content meter’ and ‘external, formal meter’ forbids it to proceed as in previous generations. Kim Ki-Rim attempted to extricate rhythm from fixed meter in traditional poetry. Instead of abandoning the mechanical and formulaic rhythm, he explored new types of rhythm: intonation, tone, accent, and tempo. According to Kim Ki-Rim, rhythm is what gives words meaning, voice, and expression. Questioning rhythm and context makes words and phrases understood in a given discourse. Yun Kon-Gang defines rhythm as a collection of accents, whose effect is close to ‘zero’ in poetry, thus worthless. In his studies, rhythm is considered as a product of typification or an immobile decoration, while ‘tone’ is perceived as a dynamic, living form of language. However, the modality of tone was not elucidated. 1930년 이후 진행된 리듬 연구는 조선어의 특성을 규명하는 일에서 착수되었다. 조윤제는 서양의 영시나 동양의 중국시가 아니라 일본어와 유사한 조선어에 ‘악센트’와 ‘고저’가 부재할 뿐 아니라 ‘운韻’을 운용하는 게 불가능하다고 주장한다. ‘감정의 유통’에 따른 ‘자연스러운 율미(律美)를 리듬(Rhythm)이라고 정의한다. 조선시의 ‘운율’은 ‘자수율’이라는 인식이 ‘리듬’과 함께 대두된다. 조벽암은 김억의 ‘정형시론’에 근저한 리듬 개념을 비판하면서 시의 내용과 형식의 불가분성을 강조한다. 외면적ㆍ형식적인 운율법 대신 ‘내재율의 리듬’에 토대한 자유시형은 일정한 박자와 율격의 구속을 벗어난 새로운 시형이지만 그 실체가 규명되지 않는다. 자유시형의 출현과 더불어 ‘시형’의 모색에서 본격적으로 논의되기 시작한 리듬은 앞선 세대와 마찬가지로 ‘내재율-내용율’ vs ‘외재율-형식율’의 이분법에 갇혀 전진하지 못한다. 김기림은 전통시의 정형률에서 리듬을 탈출시키려 시도한다. 김기림은 기계적이고 도식적인 의미의 리듬을 폐기하는 대신, 새로운 리듬을 탐구하였다. 그에게 리듬은 억양이나 어조, 액센트나 템포 등의 운용이며, 리듬은 말에 ‘뜻’을 입히고 목소리와 표정을 부여한다. 리듬과 문맥을 따져 물을 때 비로소 낱말이나 구절은 언술 속에서 비로소 제 의미를 이해할 수 있다. 윤곤강은 리듬을 단순한 악센트의 집합으로 정의하며, 그 효과는 시에서 ‘제로’에 가까워, 시에서는 ‘무가치한 무엇’이라는 결론을 내린다. 윤곤강에게 리듬은 ‘유형화’의 산물이며, 정형율과 다르지 않은 굳어진 장식인 반면, 톤은 말의 생동하는 동적 형태로 인식된다. 그러나 톤의 양태는 규명되지 않는다.

리듬 스텝 트레이닝이 중학생의 자유투 정확도에 미치는 영향

이형주,김응준 한국리듬운동학회 2025 한국리듬운동학회지 Vol.18 No.3

This study investigated the effects of rhythm-step training on the free-throw accuracy of middle-school basketball players. Participants were randomly assigned to either a fixed-rhythm group or a natural-rhythm group and completed a 12-week rhythm-step training program integrated into regular free-throw practice. Free-throw accuracy was assessed through ten standardized attempts during both the pre-test and post-test, and a structured Likert-scale questionnaire was administered to evaluate participants’ perceptions of the training. Both groups showed statistically significant improvements in free-throw accuracy following the intervention, with the natural-rhythm group demonstrating a greater increase compared to the fixed-rhythm group. Paired-sample and independent-sample t-tests confirmed these differences, and effect-size analyses (Cohen’s d) indicated small to moderate practical effects favoring the natural-rhythm condition. In addition, participants reported higher post-training perceptions of the necessity, usefulness, and effectiveness of rhythm-step training, suggesting that repeated rhythm-supported practice enhanced their confidence and understanding of its benefits. Overall, the findings indicate that rhythm-step training contributes meaningfully to improved free-throw accuracy in adolescent learners. These results provide empirical support for incorporating rhythm-based instruction into youth basketball training programs. Future research should examine its effects on additional basketball skills, related psychological variables, and long-term performance retention to further validate rhythm-step training as a systematic coaching method.

동작과 언어를 통합한 리듬교육활동에 대한 효과 분석

임은애(Eun-Ae LIM) 한국수산해양교육학회 2007 수산해양교육연구 Vol.19 No.2

This paper is to develop an integrate curriculum of rhythm education activity program and to find the possibility of applying the program into actual music education field for kindergarten children. The outlook of this study is to develope a program integrating the elements of movement, language and rhythm to apply the program to 5 year old children for 6 weeks through 12 sessions, and to observe and analyze their level of rhythm creativity and rhythm reading ability. The analysis of the field observation data and recording data showed that the children achieved natural and better understanding of rhythm. Seen from the perspective of rhythm creation activity, while the integration of the elements of movement and rhythm influenced directly to enhance the level of understanding rhythm and the integration of the elements of language, rhythm helped indirectly to have better understanding rhythm through connecting the notions of rhythm and movements. However, when only rhythm and movements were combined, children tended to misunderstand the relative durations of ♩ and ♪ just as different tempos not as 2:1 duration relativity. And ?was too misunderstand as due to different durations of korean words when only rhythm and language were combined. To overcome the limit of understanding, all of the three elements; rhythm and movements and language should be integrated and constant auditory experiences are recommended.

체온, 맥박, 활동성, 기분의 Circadian Rhythm 간의 관계

김명애,고성희 성인간호학회 1994 성인간호학회지 Vol.6 No.1

This study examined the relationship between body temperature, heart rate rhythm, level of activation rhythm and mood rhythm. A sample of 20 females who work as nurses or nursing student at a university hospital took oral temperature, heart rate reading, and completed Activation-Deactivation Adjective Check List, the Mood Adjective Checklist every two or three hours from 6AM to 9-11PM for six consecutive days. These data were analyzed by using Mean and Cosinor Method. Pearson correlations were calculated between the parameters of the rhythmic variables by percent rhythm and percent amplitude. The results were summarized as follows ; 1. 17 of 20 subjects had statistically significant (p<.05) circadian rhythm in temperature which revealed the highest incidence, and 13 of 20 in pulse rate which revealed the lowest incidence among the rhythm variables. In temperature rhythm parameters, the mesor estimates showed 36.52≥0.04℃, the amplitude showed 0.30≥0.03, and the acrophase showed 14:32 hours. In pulse rhythm parameters, the mesor estimates showed 75.67≥1.25 beats/min, the amplitude showed 4.89≥0.66 beates/min, and the acrophase showed 13:09 hours. The analysis suggested an antiphase pattern of two clusters of rhthms. Body temperature, pulse rate, general activation, and the factors of happiness, mental, social mood constituted the first cluster which appear high at midday from 10:37 to 14:54 hours. On the other hand deactivation-sleep and anger-depression mood constituted the second cluster and seem to have high at early times form 01:12 to 01:33 hours. 2. According to the pearson correlations between the percent amplitude of the rhythmic variables, there were positive relationship between body temperature rhythm and the factors of general activation, deactivation-sleep, social mood, and between the factor of general activation and all mood factors, and between the factor of deactivation-sleep and the factors of happiness, mental, social mood. As mentioned above, we(I) could confirm body temperature, heart rate rhythm and level of activation and mood rhythm. Body temperature, heart rate rhythm and level of activation are directly connected with each other. The level of activation is also closely related to mood rhythm. This study is expected to enhance the better understanding about various rhythm variables.

한국 근대시와 리듬의 문제

최현식 ( Choi Hyun-sik ) 인하대학교 한국학연구소 2013 한국학연구 Vol.0 No.30

The rhythm of modern poem in Korea is very complicated. The typical main streams of views on modern poems are such as a view that it was made under direct influence from western countries, a view that traditional rhythm has changed to a form suitable for modern conditions and a view that it is a complex structure of tradition and import. Han, Su-young Park, Sul-gi and Jang, Cheol-hwan, the subjects of this study are reviewing those different views and newly constitute the establishment of free rhythm in modern poem in Korea and its adjustment and course of evolution. Han, Su-young focuses on the changes from the 7.5 metrics of Japan’s Shintaishi(新體詩) to the poems by Kim, So-wol. She concludes that non-uniform rhythm format was expanded while the rhythms were realized toward ordering emotion. Park, Seu-lgi, after establishing general definition of ‘rhythm’(律) then divides it into sub categories, ‘phonetic rhythm’(聲律) and ‘resonate rhythm’(響律). ‘phonetic rhythm’ is a rhythm that is realized by voice of language and ‘resonate rhythm’ is realized by letters of language. Regarding silent reading and personal enjoyment, it can be restructured as a hierarchical structure where the ‘resonate rhythm’ of letters is the main and ‘phonetic rhythm’ of voice is dependent to resonate rhythm. As typical poets who played key role in constituting and realizing resonating rhythm, we can think about Lee, Sang-hwa and Kim, So-wol. Jang, Cheol-hwan views Kim, So-wol’s rhythm as an ordering principle of regularity and fixed form and also a changing principle of irregularity and transformation. Through this, he could find that Kim, So-wol’s rhythm converges to a monism of meaning-format which binds phonetic, syntactic and semantic features. They normally share critical minds about rhythm and subject poets, and at the same time, could derive differences as above in defining the nature, characteristics and roles of rhythm in modern poem. Thus the study reviews, from objective view, the contribution of above rhythms on historicalization of rhythm and its impact on the studies on rhythms of current Korean poem.

한국 현대시와 리듬론의 반(反)운율학적 전망

오연경 상허학회 2017 상허학보 Vol.49 No.-

In the rhythm study of Korean poetry, idea of ‘Yul(律)’ was a kind of genre ideology to define the boundary between poetry and prose. The idea of ‘Yul’ has played a role of assigning the rhythm of poetry to the formality of language, especially the material regularity of words. In the discussion of rhythm, the dichotomy of form and sense has served as a powerful argument. Recent studies that proposes the new rhythm theory of Korean modern poetry are motivated by the desire to move away from the idea of ‘Yul’ which has been dominant for a long time. These studies attempt to distinguish the concept of ‘rhythm’ from ‘Unyul(韻律)’. The choice of the term ‘rhythm’ in these studies can be considered a kind of declaration against the ideology of ‘Yul’. These rhythm studies are based on the same theoretical foundation, Henry Meschonnic’s rhythm theory. His rhythm theory suggested a new concept of and a new approach to rhythm. That inspired great enthusiasm in the rhythm studies of Korean poetry. Henry Meschonnic’s thesis that rhythm is an organization of sense in discourse and an integrative of form-sense is widely accepted as the first principle of a new rhythm study. Particularly ‘a prosodie’ and ‘an accent’ among the methodologies for analysis of poetic rhythm has attracted great attention by various researchers. This paper closely examines the characteristics and tendency of these new rhythm studies that began in earnest around 2010. 한국시의 리듬 연구에서 ‘율’은 시와 산문의 경계가 모호해지는 것을 방지하기 위한 일종의 장르 이념이었다. ‘율’의 이념은 시의 리듬을 언어의 형식성, 특히 말의 물질적 규칙성으로 되돌리는 역할을 해 왔으며, 리듬에 대한 논의에서 형식과 의미의 이분법은 뿌리 깊은 토대였다. 최근 한국 현대시의 새로운 리듬론을 제창하고 나온 여러 논의들은 오랫동안 고착화되어 온 바로 이 ‘율’의 이념으로부터 벗어나고자 하는 열망에 추동되고 있다. 이 연구들은 ‘운율’과 차별화된 관점에서 ‘리듬’ 개념을 적극적으로 의미화하고 있으며, ‘리듬’을 ‘율’의 이념과 결별하는 하나의 분기점으로 삼고자 한다. 몇몇 연구자들에 의해 뚜렷한 흐름을 형성하고 있는 리듬 논의는 동일한 이론적 토대에 근거하고 있는데, 그것은 바로 앙리 메쇼닉의 리듬론이다. 메쇼닉의 리듬론은 리듬에 대한 새로운 개념과 접근틀을 제안함으로써 한국시의 리듬 연구에 활력을 불어넣었다. 리듬은 ‘디스쿠르(discourse)에서 의미의 조직’이자 ‘의미-형식(form-sense)의 통합체’라는 앙리 메쇼닉의 테제는 새로운 리듬 연구의 제1원칙처럼 널리 공유되었다. 시적 리듬 분석의 방법론으로 특히 주목을 받은 것은 ‘프로조디’와 ‘강세’였다. 본 논문은 2010년 전후로 촉발된 새로운 리듬 논의의 흐름과 그 내면을 살핀다. 논자들이 한국시의 주요 리듬 자질로 내세운 지표들을 비교․검토하고 그것들이 다양한 근․현대시 작품에 적용되는 양상을 면밀히 따라가면서 현 단계 리듬 논의가 어디까지 와 있는지 점검한다.

북한 장단론 연구

문주석 국립국악원 2019 국악원논문집 Vol.40 No.-

This study examines the research conducted on North Korean rhythmic cycles from the 1950s to the 1970s, and compares the anddang and onghaeya rhythms. In the 1950s, the names of the various rhythmic patterns were not standardized. At that time, research was done on the influence that Western music theory had on the rhythms. Other works systematized and recorded the fundamental principles of the rhythms as observed at the site of performances. Research in the 1960s inherited the findings of the 1950s and documented the blending of Western rhythmic styles with North Korean styles. Research in the 1970s emphasized the application of the rhythms in performances on site. It also focused on presentations of the rhythms for educational purposes and stressed the importance and necessity of dance rhythms. This study also identifies the basic characteristics of the most common rhythmic patterns known as the gutgoeri, jungmori, and taryeong rhythms. Choi Young-Nam described the gutgoeri rhythm as one that allowed performers to freely express the feeling of the rhythm. A characteristic of the jungmori rhythm was the ability to express emotion through the musical effect of stressing the third beat of every third bar. The taryeong rhythm is similar to the jungmori rhythm, but with differences in tempo. Finally, while the basic rhythms of the anddang and onghaeya patterns remained the same from 1950 to 1980, variations in the rhythm were improvised during performances by placing the stress on different beats. A modified form of the anddang rhythm became known as the onghaeya rhythm. However, because the anddang rhythm accompanied a song titled onghaeya, that rhythm became confused with the onghaeya rhythm. 본 연구는 1950년대부터 1970년까지 북한 장단론을 연구하기 위하여, 시기별 장단연구의 변화양상 및 ‘안땅 장단’과 ‘옹헤야 장단’을 비교하였다. 본 연구의 결과를 정리하여 제시하면 다음과 같다. 첫째, 1950년대는 장단명칭이 통일되지 않았으며, 서양음악이론에 영향을 받은 장단 연구와 연주의 현장에서 체득하고 경험한 장단의 원리를 체계화하고 기록하는 작업이 있었다. 1960년대는 1950년대 장단연구의 성과를 계승하고, 서양 장단체계와 조선의 장단특징을 함께 제시하고 공유하였다. 1970년대는 장단의 현장 적용과 더불어 교육용 장단의 제시 및 무용 장단의 중요성과 필요성을 강조한 시기이다. 둘째, 자주 쓰이는 장단에 해당하는 굿거리, 중모리, 타령 장단의 기본형을 중심으로 장단의 특징을 파악하였다. 굿거리 장단의 특징에 대하여 최영남은 장단을 연주하는 연주자에게 장단의 느낌을 표현하도록 하였다. 중모리 장단의 특징은 세 번째 마디, 세 번째 박자에 힘을 강하게 주는 음악적 효과를 통하여 정서적 감정을 표현하는 것이다. 타령 장단은 중모리 장단과 비슷하지만 연주속도에서 차이가 발생한다. 셋째, 1950년대부터 1980년까지 ‘안땅 장단’과 ‘옹헤야 장단’의 기본장단형은 동일하지만 연주할 때 강세의 위치가 다른 장단이다. ‘안땅 장단’을 변형하여 형성한 ‘옹헤야 장단’을 ‘옹헤야’ 노래를 부를 때 사용하기 때문에 장단의 명칭에서 혼란을 초래한 것으로 판단한다.