‘학연화대처용무합설(鶴蓮花臺處容舞合設)’의 반주 음악과 악기편성 변화 고찰

Abstract

Hakyeonhwadaecheyongmuhapseol (鶴蓮花臺處容舞合設) is a performance, which was practiced after the Narye rites of casting out evil spirits in the court of Joseon Dynasty on the last day of December. The content of the performance is recorded in Akhakgwebeom (music theory book, 樂學軌範, 1493) in detail, and its record is found also in Yongjaechonghwa (慵齋叢話). Akhakgwebeom describes that the large-scale band consisted of 35 musicians, and this fact allows us to examine the character and the formality of the hakyeonhwadaecheyongmuhapseol. Above all, the hakyeonhwadaecheyongmuhapseol, as it appears in Akhakgwebeom plays a role as a complete body, not a separate one, based on cheoyongmu music. However, the content of the current hakyeonhwadaecheyongmuhapseol is quite different from the old one. The dancing performance is similar, but the music has many differences. This paper compares the records of Yongjaechonghwa and Akhakgwebeom with current data such as performance data reproduced in 1984. And as a result of examining the musical transformations in hakmu, yeonhwadaemu and cheongyongmu, that was handed down as a way of solo and partial consortium, one finds three kinds of differences between them: First, the combination of orchestral bands described in Akhakgwebeom has now been transformed into samhyeonyukgak, yanggeum and danso organization. Second, there is a change of climax due to musical differences between them. Third, one can find a change of symbolism. As a result, although the current hakyeonhwadaecheyongmuhapseol is said to have been restored based on the Akhakgwaebeom, it is completely different from the hakyeonhwadaecheyongmuhapseol in the compilation of music and accompanying instruments.