용악(用樂)의 절차로 본 보허자와 낙양춘의 전승 양상

Abstract

Korea’s Boheoja and Nakyangchun were introduced from the Song Dynasty, but over a long period of time they already developed many Korean elements. Nevertheless, it can be said that the two pieces of music have great research value and meaning as a product of musical exchange between Korea and China over a thousand years. When the music of the Song Dynasty is studied, Boheoja and Nakyangchun are especially valuable materials, and many Chinese musicologists are interested in them. However, even though both of them are Sa-ak (詞樂), why are Boheoja and Nakyangchun differentiated in ancient scores? To answer the question, “Why is Boheoja recorded more frequently in ancient scores than Nakyangchun?”, we need to look at these two Yongak Systems. As music is played according to need, Boheoja and Nakyangchun would also have been played out of necessity, and if the need for performance is high and the frequency is high, the chances of them being recorded as musical scores are thought to be high. Therefore, in this paper, I will first try to explain the Yongak System of Boheoja and Nakyangchun, and to do so, I will examine the Yongak situation of the two pieces of music by organizing related contents recorded in bibliographic data such as Annals of the Joseon Dynasty and Akhak Gwebeom (Illustrated Text on Traditional Music). When explaining the Yongak System, I divide it into three areas, i.e. ritual procedures, accompaniment to Jeongjae, and singing, and examine each of them. Through this basic work, I compare the Yongak System of the two pieces of music and try to explain the reason behind the current succession situation. Boheoja and Nakyangchun have been found to be played in all three Yongak systems, i.e. ritual procedures, accompaniment to Jeongjae, and singing, but there are differences between the early and late Joseon Dynasty, and especially in the late Joseon Dynasty, these differences in the Yongak System become more evident. Looking at the Yongak System of Boheoja, in the early Joseon Dynasty, it is found in all three parts: ritual procedures, accompaniment to Jeongjae, and singing; whereas in the later part of the Joseon Dynasty, it lost the function of singing and showed steady succession in the two parts of ritual procedures and accompaniment to Jeongjae. Looking at the Yongak System of Nakyangchun, it has been found to be played in the ritual procedures and singing in the early Joseon Dynasty, and in the ritual procedures and accompaniment to Jeongjae in the late Joseon Dynasty. I tried to explain the reason for the different succession situations of Boheoja and Nakyangchun through aspects such as differences in the Yongak System, demand for changes in dance movements and rhythm in accompaniment to Jeongjae, differences in playing styles due to the Yongak System, presence or absence of string instruments, and differences in performance range. An attempt was made to find out. In this study, I aim at identifying the causes formed in the succession situations of Boheoja and Nakyangchun, and there are some parts that have not yet been resolved and are only speculated. Since this research is only the beginning, however, I will make further efforts to conduct more in-depth research on Korean and Chinese Sa-ak (詞樂) in the future.