한국과 일본의 고악보 기보 체계의 특수성-기악(器樂) 악보를 중심으로

Abstract

This study examines the historical development process of various forms of old musical notation of Korean and Japanese court music and various folk music, and sheds light on the relevance and specificity of old musical scores of both countries through comparison of notation methods. First, both Korea and Japan accepted notation such as Yuljabo, Gungsangjabo, and Gongcheokbo from China and developed them in different ways according to the music situation of each country. Second, in the case of Korea, Oeumyakbo for notating the pitch and Jeongganbo for notating the length of the note were independently invented even when China's notation was accepted. Third, the performance method notation originated in Korea and Japan has unique characteristics due to differences in sound system, instrument structure, and musical characteristics of the two countries. However, in the case of Korea, in addition to performance notation, Yuljabo or Jeongganbo were used together to clearly indicate pitch and length, which is a distinct feature from Japanese old music notation, which is mostly composed of performance notation. Fourth, Korean old musical scores are different from Japanese old musical scores, which have their own scores for each instrument in that they are a comprehensive collection of music that encompasses string instruments, wind instruments, percussion instruments, and songs. In the end, the originality of Korean and Japanese music and instruments was reflected in the old musical scores of both countries, so that the notation of both countries had national characteristics, and it could be said that it was a factor in the change of Chinese musical notation transmitted to both countries.