19세기 초반 농⋅낙⋅편의 분화와 『병와가곡집(甁窩歌曲集)』의 위상

Abstract

This article examines the historical status of 『Byeongwagagokjip』 through a detailed examination of the inclusion of Manhoeng, Nakhuijo, and Pyeonsakdaeyeop in 『Byeongwagagokjip』. 114 pieces are included in the Manhoeng of 『Byeongwagagokjip』. There are many works that are divided into Nong and Eollong, but they have not yet been given a name. The music division of Manhyeong is closely related to the system of Ujo and Gyemyeonjo, and this is because the 『Byeongwagagokjip』 has not yet been fully established. The Nakheejo, which contains 104 pieces, includes many works called Manhyeongcheongryu. This phenomenon began around the mid-18th century and reached its climax in the 『Byeongwagagokjip』. In addition, Nakheejo, which was part of Sakdaeyeop, was moved after Manhyeong, and is arranged in the order of ‘Manhyeong → Nakheejo → Pyeonsakdaeyeop’. The basic system of Nong, Nak, and Pyeon has been revealed for the first time. The reason why derivative songs of the Nak series have not appeared is because the 『Byeongwagagokjip』 has not yet fully established the U and Gyemyeon system. The first time lyrics were included under the name of Pyeonsakdaeyeop was in 『Byeongwagagokjip』. Of the 40 songs included, 23 were included in 『Cheongguyeongeon』(edited by Kim Cheontaek) Manhyeongcheongryu. It is presumed that Pyeonsakdaeyeop was derived from the combination of Manhyeongcheongryu and Sakdaeyeop, but it is not easy to secure the evidence. 『Byeongwagagokjip』 is a collection of songs that is located at the turning point of the division of Nong, Nak, and Pyeon in the early 19th century. It is preparing for the full-scale transition to the ujo and gyemyeonjo system and the subsequent differentiation of music. The period when the ujo and gyemyeonjo system was fully established in Gagok Hanbatang was around the 1830s. In that case, it is clear that the 『Byeongwagagokjip』 was a collection of songs compiled in the 1820s, just before that. It can be evaluated as a collection of songs that opened the door to a new era during an important turning point in the performance of songs in the early 19th century.