음악사적 관점에서 본 조선 후기 가사 문학 - 국문 가사 「한양가」를 중심으로 -

Abstract

This study considers the musical culture described in the 19th century Korean lyrics of Hanyangga written by Hansan Geosa, who is assumed to be a Buylgam, an official. Hanyangga is valuable because it describes the cultural phenomena of that time from an objective point of view across the civilian sector and the royal court. The author’s description and appreciation are brief, but they are detailed and professional, so they are an important piece of music history. This study focuses on four parts : Jangagwon's (the royal music lnstitute) musical scenes, seungjeon noreum, neunghaeng (陵幸), and yuga (遊街) in Hanyangga. First, the author, Hansan Geosa, described the actual working process and various aspects of Jangagwon, including working with the government office in charge of court music and dance, from the perspective of a person of taste. This study examines the details of learning music by court musicians and the performance by the dancer boys described in Jangagwon. In the case of royal court performances originating from the civilian sector, Hansan Geosa, suggested the titles used by civilians. He wrote in detail about the dance of Cheoyong. According to him, the appearance of the Cheoyong mask, in other words Cheoyong’s face, changed to a completely different appearance from the time of king Yonsan to the time of king Heonjong. He described the eyes of Cheoyong as the phoenix's eyes, which the people considered the best eye shape, and regarded the dance of Cheoyong as the visit of the heavenly official. This shows that Cheoyong's mask is not just a representation of the figure, but a product of people’s belief. The physiognomy marks more than just a character. Second, this study examines the culture of pungnyu, the culture of amusement, in the section of seungjeon noreum, an event where the officials of the palace took the lead and enjoyed singing and dancing with dancers and musicians in the late Joseon Dynasty. seungjeon noreum consisted of various performances. In the process of preparing the instrument, the process of making the janggu was also enumerated. The dance hangjangmu expressed this process. Through this, it can be seen that hangjangmu, which was accepted as court dance by King Gojong, was already prevalent in Hanyang during the reign of King Heonjong. Third, this paper describes the neunghaeng, a very important event where the king visited his parent’s tomb to practice his filial duties. This study analyzes the meaning of the number of gong hits in the performance of daechwita during the process of this event. Considering the circumstances at the time, it can be assumed that the reason King Heonjong did not follow the military documents and controlled the number of gong hits was to differentiate others according to rank in order to present the authority of the king at the march. Based on this interpretation, it is estimated that the mobilization of large numbers of people for this neunghaeng was intended to reveal the authority of the King. Fourth, this study examines the musical pieces mentioned in the process of the glorious return one had after passing the state examination. This celebratory ritual continued for three days, and considering the context, the song of semachi gilgunak, which is played during the returning march, can be interpreted a piece of music of gilgunak in semachi (fast three-beat) rhythm. This semachi gilgunak is related to sadangpansori gilgunak in semachi rhythm, which is found in Jeollanam-do. This study analyzed the name and composition of music, and performance procedure concerning royal court ritual and civilian music culture performed during the reign of King Heonjong, through a close analysis of the musical expression and description within Hanyangga. There continues to be a need for research that explores the meaning of music history as shown in historical compositions through concrete analysis and comparison of various literature.