중종대(中宗代) 음악정책의 중흥과 개혁

Abstract

This study examined the process of musical restoration and reform in the reign of King Jungjong by focusing on changes in the status of royal authority and the development process of music policy. For this, the reign of King Jungjong was divided into five periods on the basis of main incidents showing changes in the relevant matter. The first period is from September in the year of King Jungjong’s enthronement to December in the 9th year of King Jungjong. After the enthronement, King Jungjong reformed the Yeo-ak(music performed by female entertainers) system which was expanded in the reign of King Yeonsan-gun, reduced the Yeo-ak because of government officials’ petitions to abolish it, and also banned the discussion of love songs between man and woman. The second period is from the 10th year of King Jungjong when Jo Gwang-Jo was appointed to the 14th year of King Jungjong when the Gimyosahwa happened. During this period, a large number of Sarim got into the Eongwan post and also increased their political roles, which caused huge changes. This study examined the arguments of King Jungjong, ministers, and Jo Gwang-Jo by focusing on the abolition of Yeo-ak outside of Seoul and innovation of movement. The third period is from the 15th year of King Jungjong when the ministers recovered their status of leading political power again after the Gimyosahwa, to the 25th year of King Jungjong. In this period, it was overall stabilized with relatively less conflicts between political powers. However, the re-provision of Yeo-ak outside of Seoul that was abolished by Jo Gwang-Jo during the period of Gimyosarim emerged during this period. Thus, this study examined the process of reinstalling the abolished Yeogi(female entertainers) outside of Seoul. The fourth period is from the 26th year of King Jungjong to the 32nd year of King Jungjong. After a powerful retainer Kim An-Ro seized power, the balance of power between political powers was greatly broken up, which was led to many problems in the overall state affairs. And the most important fact is that the Samsa that used to be faithfully working as critical media agencies was degraded to a personal political tool for Kim An-Ro. Considering this point, this study examined the discussion of a problem shown in the reception poems for Chinese envoys. The fifth period is from the 33rd year of King Jungjong to the 39th year of King Jungjong. In this period, King Jungjong who could not fully exercise his royal authority while going through complex political power struggles in the previous period, made the last effort to realize his own political conception. This study examined such King Jungjong’s efforts into music policy by focusing on the abolition of evil effects of Akgong･Aksaeng(court musicians) and the temporary abolition of Yeogi by disaster. The reign of King Jungjong showed both outcomes and limitations through the repetition of various explorations and experiments for the goal of rebuilding the music culture by amending the Ye-ak(rites and music) collapsed by King Yeonsan-gun’s tyranny.