김기수의 악전 이론에 적용된 근대 정간보의 부호 제작 원리

Abstract

This study attempts to explore the relevance of the sign-making principles of modern Jeongganbo, as applied to Kim Ki-Soo’s music theory, to Hangeul-making principles, and further to the borrowed notation which was used prior to the creation of Hangeul. In other words, this study aims to show that the sign-making principles of modern Jeongganbo are closely related to the principles of traditional literacy life of the Korean people. Although the influence of Western music theory appears to motivate Kim’s works, this study takes a new perspective and argues that Kim was deeply interested in Hangeul and actively engaged in activities related to it, based on his Hangeul-related career and artifacts that have not received much attention. In other words, at the very least, Kim was aware of the principles underlying Hangeul-making beyond common sense, as well as the principles underlying the traditional literacy life such as Chinese characters and Gugyeol, and the possibility that he applied them to the sing-making system of modern Jeongganbo cannot be overlooked. In the process of establishing the system of modern Jeongganbo, Kim devised and adopted various signs based on letters and figures in order to transcribe music as closely as possible to the reality of the music, and they are guided by certain principles. These principles can be summarized as omission of strokes, hieroglyphs, addition of strokes, combination, and symmetry, and these five principles have an organic relationship with each other and are compounded in the notational system of pitch, length, strength, speed, performance techniques, and ornamentation. This means that Kim's understanding of traditional literary life including Hangeul influenced the sign-making system of modern Jeongganbo.