중세 동아시아 諸國의 交聘使行과 樂舞儀禮

Abstract

Music and dancing is involved with ritual music theory. Music and dancing means to focus on dance among various genres of music. Dance forms human’s credit and song forms virtue. The emperors in the history tried to let the nation know credit more than virtue because credit has a function to make the nation sympathize specifically while virtue was invisible. Chinese Yookdaeak also admired foundation achievement and focused on dancing. The reason why new dynasty used the previous ritual music for a while after opening a country and wasted it while establishing its own ritual music is because of it. Since music and dance were considered important to elevate one’s own national prestige in sending envoy and reference between two nations, they were interested in Akmuuirye given when serving envoys. Chosun dynasty also made Beonbuak in response to it to raise its political prestige by performing music and dance of surrounding nations and groups who referred. Midfield dynasties also accepted Sayak to spread their virtue everywhere. East Asian Sahaeng Akmuuirye played their own traditional music and dance matching relevant nation. Midfield dynasty generalized Sayak with its own music and dance and called it Sibbuak and played it at dynasty formal event, recession, or to envoys. It put Yeonak and Cheongak which were midfield itself music and dance in the front in Sibbuak’s arranging order, the remaining palbu’s music and dance were owned by surrounding minority or dominant country. Therefore Sibbuak is expression of imperialistic music and dance recognition. The reason why Koryo and Chosun dynasties played the music and dance of Japan, Tamra, Owe, Yeojin, Songsang and our inherent traditional music and dance together when meeting their reference and Gyobingsahaeng of midfield was based on this will.