근대 일본의 가가쿠(雅楽) 연구-아악국(雅楽局) 내 악가(楽家) 별 계보 및 악인들의 활동상을 중심으로-

Abstract

This paper examined the establishment of modern Japanese Gagakukyoku(雅楽局), the genealogy by Gakke(楽家) and the activities of Gakakukyoku Gaknin(楽人) around the Gakke under the Koma clan. In modern times, opening of the Gagaku genealogy, which was determined along with the establishment of Gakakukyoku aroused largely two questions: the first question was about the genealogy by Gakke, that is, the framework of transmission; and the second one about Gaknins, the subjects of transmission. After the modern times, the Gagaku genealogy was transmitted under the same condition regardless of Gakke. In other words, this means that the transmission framework of Gakke disappeared. Therefore, it is doubtful whether there have not been any adverse effects, difficulties derived from the lack of tradition. In addition, Gaknins acted as the subjects of Gagaku transmission within boundary of Gakke. However, they should play a role not as Gakke, but as a member of Gakakukyoku, since the modern times. Then, what activities did Gaknins from Gakke show at that time? The answer to the first question is that most of Gaknins were from Gakke when Gakakukyoku was established, and their majors generally corresponded to professional areas of individual Gakke, recorded in Aksoboim. The genealogy of Gaknins and Gakke, from Gakuso(楽所) in the Heian period(平安時代) to Sampougakuso(三方楽所) in the Edo period was maintained, when Gakakukyoku was established, in spite of institutional transition with the motto of 'opening'. Activities of Gaknins were also examined to show that about 20 Gakunins of the Koma clan participated in Gagakukyoku, when it was established. These Gakunins were extremely skillful at performing Gagaku as well as Western music newly introduced, so they could play important roles in playing musical instruments and even composition and schooling. Such activities of Gaknins are very meaningful, in that they provided the culturalhistorical foundation for transmission and succession of Gagaku and development and education of the modern Western music. Moreover, Gaknins as senders who introduced Gagaku to the ancient Japan are more meaningful, given the fact that most of them who left a lot of achievement and footmarks at that time were descendants of clans from ancient Korea. In conclusion, Japanese Gagaku has been transmitted and developed, due to roles and activities if Gaknins from ancient Korea and also could overcome the period of opening and confusion, based on their activities, in modern times.