궁중음악의 전승과 『樂章歌詞』

Abstract

Akjang-gasa is a kind of literature that recorded the lyrics of songs played in the royal palace ceremonies. It is considered important in the studies of Korean literature and music, respectively as it contains literature and music resources from Goryeo to early Joseon Dynasties. Nonetheless, it is possible to define it as ‘song books for the royal palace’ once the focal point is placed in vocal singing that was played in memorial ceremonies and banquets in the royal palace. Therefore, in this article, Akjang-gasa has been examined from the point of view that it is a literature work of music. After the two major wars in Joseon, Akjang-gasa was compiled for the purpose of succeeding the lyrics of songs involved in ceremonial music of the royal palace which was under the crisis of loss and succession. The reason for the fact that the compiling of three different copies is inconsistent is that the book was for practicing by the musicians, and it was due to the situation where it was combined and used as needed at the time. And, under the circumstances, such as place of storage or user of the three different copies, the book was maintained just as in the binding condition around the end of the 17th century, with sometimes only part of it inserted, or enriched addition as part of a new movement in later times. The publication script is a different copy that reflects the most changes in music for Jangakwon musicians and affinity. Furthermore, with the presence of small books, such as, Aak-gasa and Jongmyo Akjang, which seemed like the sub-part of Akjang-gasa, they present the possibility for Akjang-gasa to be made by binding such small books in a reverse way. In order to perform ceremonial music of the royal palace in Yeojo and Jangakwon, various types of music data were displayed, and these data were available to government officers and musical professionals from time to time. In particular, those three parts of Akjang-gasa, namely, Aak-gasa, Sokak-gasa and Gasa showed closeness with each other by musicians, with Aak-gasa as the repertory of Aksaeng, Sokak-gasa as the repertory of Akgong, and Gasa as the repertory of mainly yeoak (female musician). In addition, it was learned that the indication method of these three parts was related to the identity of musicians, and the style and method of the time to materialize the listed works in musical ways were complied with, and in the aspect that the first song arrangement had the general characteristics appearing in Akhak-gwebeom, the scheme to share the opted tendency in the music writing was shown of its glimpse. As shown earlier, Akjang-gasa as musical data was the focal point of endeavors to restore the royal palace music after the two major wars, and it was the book compiled around the end of the 17th century to early 18th century (1695-1720), the later part of the King Sukjong’s reign. After the wars, most of the lyrics were lost, which made it difficult transmitted. Under the realistic need to practice and succeed the songs of the royal palace, the lyric books available in Jangakwon were compiled, which resulted in Akjang-gasa.