18C 후반 거문고 합자보(合字譜)에서 육보(肉譜)로의 주(主)기보법 전환의 음악교육적 함의

Abstract

As is well known, geomun’go [玄琴 hyeon'geum ] was established as an instrument that has been given legitimacy and justification at the dimension of hakgeum (學琴 lit. learning geomungo) for the literati since the 15th century, and has been used in the private sector. Geomungo hapjabo (合字譜) was designed by Seong Hyeon (成俔, 1439-1504) while geomungo yukbo (肉譜), a notation method passed down since the Goryeo Dynasty, was used as an auxiliary notation along with geomungo hapjabo and settled as a main notation since the 19th century. The notation fundamentally has an educational aspect by visualizing and symbolizing music that is an auditory phenomenon, into symbols or letters according to certain promises or rules, and delivers it to people. Therefore, this paper focuses on three issues to reveal the musical educational implications of the transition of major notation in the late 18th century by highlighting the essential characteristics of each geomungo notation from an educational point of view. First, it is noteworthy that geomungo hapjabo is a specific notation system in which comprehensive information such as string names, order of frets (棵 gwae ), finger names, and fingering techniques (彈法 tanbeop ) is set with each abbreviation and code, and is designed to make it easier for learners to learn how to play alone. This is due to the urgent need to develop tools to learn how to play on their own even in situations where they could not face geomungo teachers as the demand of the learners for education who actively accepted hakgeum activities had increased since the 15th century. In addition, geomungo hapjabo had been actively learned and utilized as the main notation by the literati for 300 years since the 15th century up to 18C, gradually serving as a tool for learning geomungo in social dimension beyond the educational category of individuals and families. Eventually it became a route for widely accumulating geomungo -related background knowledge. Second, pungnyubang (風流房) served as a center for leading the music communication culture at the social level as the literati, who practiced hakgeum activities at the individual level to train personality, had been broadly socializing there beyond class due to social changes in the late Joseon Dynasty. In addition, it spread nationwide and produced a number of music-enjoying groups, thereby stimulating the desire to learn how to play geomungo and increasing educational demand. In particular, in the process of expanding the pungnyubang nationwide and various social classes’ participating in it, opportunities to learn how to play from geomungo teachers or friends by face-to-face increased. These changes in the educational environment through face-to-face learning facilitated interaction between teachers and learners and improved learning motivation and educational satisfaction, providing an opportunity for developing and deepening of geomungo performance skills. Third, geomungo yukbo is a notation system with implications by setting and simply marking comprehensive information such as string names, order of frets, finger names, and fingering techniques in one to three letters in Korean or idu (吏頭) letters, and has been used historically for a long time before the establishment of hapjabo . It directly utilizes gueum (口音 verbal sound) to describe vivid instruments’ sound, which makes you feel a sense of vitality and reality. Therefore, it has intrinsic value as an educational means of delivering music, and its educational effect is maximized when the teacher demonstrates it directly in a face-to-face learning environment. Therefore, geomungo yukbo was converted into a major notation by replacing geomungo hapjabo since the late 18th century based on the inherent educational value and vitality, and has been used in the educational field until the present era through the 19th century.