이형상의 『지령록』 제6책에 쓰인 ‘평조‧우조‧계면조’의 의미

Abstract

Pyoung-jo, woo-jo and gyemyoun-jo, the three musical tones of Korean traditional music played an essential role in establishing Lee Hyoung-sang's nationalistic theory of music and poetry. This article investigated the way Lee Hyoung-sang perceived these three musical tones, considering the consistency of the usage of the terms in his book, Jiryoungrok. In the first half of this article, the characteristics of the three musical tones were discussed. Lee Hyoung-sang's understanding of those tones contained both similarity and difference compared to the general understanding. He perceived pyoung-jo in the similar way to the public, but he used gyemyoun-jo quite differently; gyemyoun-jo was generally considered as a tone that evokes a sad feeling whereas Lee Hyoung-sang described it as a vigorous tone. Such a difference was caused by Lee Hyoung-sang's understanding of the musical characteristics of the three tones. Pyoung-jo and gyemyoun-jo are generally understood as similar to the major and the minor tone of the western music, respectively. On the contrary, Lee Hyoung-sang neglected the tonal difference of pyoung-jo and gyemyoun-jo, and he only accepted the difference in key; gyemyoun-jo is a transposed pyoung-jo in his work. In the last half of this article, the lyrics of the three musical tones, contained in Lee Hyoung-sang's Dongbang-asokak and Geumsok-haengyong-gagok, were examined. The emotion of the lyrics was most intense in pyoung-jo, followed by woo-jo and gyemyoun-jo. Such a phenomenon coincides with Lee Hyoung-sang's understanding of the three musical tones, which was discussed earlier in this article; pyoung-jo was composed in the highest key and evoked the most intense feeling, followed by woo-jo and gyemyoun-jo in Jiryoungrok. In conclusion, Lee Hyoung-sang's understanding of the three musical tones of Korean traditional music contains different aspects than general understanding, but at least it was realized consistently throughout his own works.