世宗의 ‘新樂’은 韓國의 雅樂인가?

Abstract

A writer proposes a new daring theory of which King Se-Jong made Korean Aak that is different from what we generally think and accept until now and demonstrates the theory with two steps in this thesis. The contents of the first step is that the writer checks Sin-ak, which was created in King Se-Jong’s later years, on its all aspects, then proves Sin-ak is a Korean Aak, based on independence and subjective of a Korea music culture. In the next step, through Aak’s concepts and definitions of a general opinion and the new theory, which are distinguished because of difference in the way of thinking of Aak, they found out why we can now say Sin-ak is the Korean Aak. The writer discusses the first step in details as below. 1. Although it is said Sin-ak was made to support insufficient of expressing for ‘difficulty of establishment Cho-sun and celebrating Kings who deserved successful contribution to the country’ with existing music, those contents were able to be represented by several established Aak and Chinese letter without any problems. Hence the reasons above are not proper purpose of Sin-ak. Therefore the creation of Sin-ak’s original purpose was not reforming of Sin-je-Aak newly, its real intention was creative our own style of music to understand well with using mainly Korean lyric, melody of Hyang-ak(Korean music) and musical instrument of Hyang-ak to perform national ceremonies. We now say, Sin-ak definitely shows independence and subjective of own our music culture. Above facts are also proved by comparing forms of music between Sinje-Aak and Sin-ak and founded in historical document as well. 2. In Se-Jong’s 29 years(June), Sin-ak used for the same purpose of Aak for some time, it means ‘Sin-ak becomes Aak’ or ‘First stage of Korean Aak’. Next stage, the writer demonstrates whether we can certainly say that Sin-ak is Korean Aak. 1. The general theory defines Aak is a musical ceremony of anceint China. The facts are founded in historical documents like 『Ko-ryu-sa』 and 『Cho-sun-whang-jo-sil-rok』. However those documents were basically reflected in historical views of Sung-ri-hak-ja who were Cho-sun’s representative scholars and they thought China was greater than Cho-sun. Therefore, the general theory is acceptance of China’s culture and music without critical thinking as Sung-ri-hak-ja admired and received those. 2. The writer found out that Korean Aak officially appeared as ‘Aak became Hyang-ak’ or ‘Hyang-ak became Aak’ since 'Jung-dae-up' and 'Bo-tae-pyung' which were Sin-ak and King Se-Jong created were used in Se-Jo’s period for a little while. Even if it had been only short period of appearance of Korean Aak officially, after that time Korean-Aak(<종묘제례악>) has been established and maintained. So the writer highly valued Se-Jo’s contribution of it. 3. The new theory that the writer demonstrates is based on Aak’s definitions, ‘General meaning of Aak that was used for religious and national ceremonies’ and acceptance a thesis, ‘Every history is contemporary history.’ So, the new theory expresses present and independent view of Aak. At this point, if we keep the past view of Aak which is view of Sung-ri-hak-ja, it is anachronism. Furthermore, it is essential to re-analysis and re-format if we know we need to define right history of Korean music or Aak subjectively and future-oriented. Therefore, the writer is confident that the new theory will be a foundation for new point of view for Korean Aak and helps understand it independently.