조선시대의 무용사적 시대구분에 관한 고찰

Abstract

Specially noticeable was the musical administration at the reigns of such kings as Taejo, Taejong, Sejo, Seongjong, Yeonsangun, Sukjong, Sunjo, and Gojong. Therefore, based on important turning points in Joseon's palace dancing, three periods were divided: early (Taejo to Seongjong/ 1392-1494), midterm (Yeonsangun to Jeongjo/ 1494-1800) and late (Sunjo to Gabo Reform/ 1800-1894). Each period was characterized with establishment, transition and renaissance. In the early Joseon period, the official system of scholars and warriors was set up, while political, social, philosophical, customary, and artistic foundations were widely prepared on the ground of Confucian ruling philosophy. Seongjong helped the compilation of Akhak Gwebeom., including court music, Tang music, traditional music, musical instruments, musical pieces, and scores. This served as an epoch-making occasion of establishing general palace music. In the midterm Joseon period, Yeonsangun succeeded Seongjong but he was absorbed in dissipation and evil ruling, as evidenced by 10,000 court ladies on his side. He even renamed Jangakwon into Yeonbangwon in 1505. Musical administration faced a severe trial in national crisis in the wake of the continuous disorders at home like the struggles of scholars as well as the foreign invasions like the Imjin War (1592), the Jeongmyo War (1627) and the Byeongja War (1636). In the late Joseon period, another epochal moment came during the auditory government period of Crown Prince Hyomyeong (1827-1830), when he aided in composing 23 pieces of place music including 20 of his own. In sum, this dissertation is meaningful as a macroscopic approach of taking the Joseon era as a whole. In three periods of early establishment, midterm transition, and late renaissance, some characteristics were derived according to the cultural research methodology of dance.