금합자보(琴合字譜)의 음악교육적 의의

Abstract

Geumhapjabo (琴合字譜, Tablature Notation for geomungo), compiled by An Sang (安 瑺), is a collection of sheet music that was published in 1572, and unlike the previous sheet music collections, it explicitly recorded the motive, the purpose, and how it was compiled, differentiating itself from the other musical scores. Also, it served to improve professionalism and was perfected through collaboration with the top musicians of the Jangagwon (掌樂院, Royal Music Institute of Joseon Dynasty) at that time, and further served as a medium for the practice of hakgeum (學琴). Therefore, it is necessary to interpret it’s significance in depth from the educational perspective, as the discussion on Geumhapjabo has focused mainly on its musical educational aspects. First, Geumhapjabo was compiled in the Neo-Confucian system, with the justification and legitimacy being raised after the end of 15C, and with the same status as other studies after 16C. In particular, it was designed to serve as a piece of sheet music and a practical textbook created by the educational demand of the scholars at that time to realize the ideal of ‘Ak (樂)’ by practicing hakgeum (學琴), not tangeum (彈琴). Also, it played a role as a catalyst to experience and interpret actual music as a complementary concept to Confucian scripture-oriented ‘Ak (樂)’ in institutionalized general education. Second, one can see the direction of music education projected in the Geumhapjabo through analysis of its composition system, notation, and the songs in the textbook. Geumhapjabo organized musical instrument structures, mountain forms, left-handed and right-handed performance methods, notation methods, and tuning methods around geomungo [玄琴] and dangbipa (唐琵琶), and provided a practical introductory system that can be fully mastered even without face-to-face instruction, based on specific and effective understanding by visual media such as pictures. In addition, Geumhapjabo was designed to comprehensively accommodate the main notation systemts such as Oeumyakbo (五音略譜), Hapjabo (合字譜), and Yukbo (肉譜), and to acquire practical methods of playing geomungo, based on the basic system of 16 jeonggan (井間) 6 daegangbo (大綱譜). Also, it was intended to contribute to the development of individual mind and the ideal state management for educational purposes at the time by selecting geumga (琴歌) songs with lyrics suitable for the Neo-Confucian virtues of jinseonjinmi (盡善盡美). Third, Geumhapjabo, which was created as an aggregation of actual music knowledge, not only compiled but also published, through the production and dissemination of sound-related books for hakgeum (學琴) by scholars. In other words, the establishment and dissemination of sound-related knowledge provided innovative opportunities to establish a new music education culture that extends beyond the limited educational categories led by the state. Besides, Geumhapjabo, was used as a social and musical communication medium for scholars and professional musicians as well as the state officials. The scholars who learned musical knowledge through Geumhapjabo actively participated in actual performance activities beyond the level of simply copying musical scores and served as a central point for music education textbook to grow and develop various types of geomungobo [玄琴譜] compilations and new branches of music.