고려시대 교방(敎坊)에 대한 재고찰

Abstract

In this paper, I intended to reconsider the existing view that understands Gyobang (敎坊) in the Goryeo period only about performing Daegok (大曲) by female court musicians (女妓). In addition, I attempted to verify whether Gyobang, which has been a controversial issue in previous studies, could be regarded as a musical institution in the Goryeo dynasty by examining historical documents such as 宋史 (History of Song dynasty), 高麗史 (History of Goryeo), and 高麗圖經 (Illustrated Book on Goryeo). Results show that Gyobang performed music in order of rituals such as the court banquet in Daekwanjeon (大觀殿宴群臣), the dynastic Buddhist Lantern Festival (燃燈會), and the assembly of the Eight Commandments (八關會), and they also performed Congratulatory Words (口號致語). Additionally, the court musicians of Gyobang consisted of guardians with the awe-inspiring deportment (衛仗), and they played drumming and blowing music (鼓吹) when a king marched outside of the court. In addition, Gyobang was not a separate institution from Daeakseo (大樂署) or Gwanhyeonbang(管絃坊), but a group distinguished from other musicians in that it had expertise in Yeonak (燕樂) of the Song Dynasty (宋). In the Joseon period, the meaning of Gyobang was changed. The court musicians of Gyobang not only referred to the musicians who were experts in the entertainment music of Chinese origin (唐樂), but also the musicians who were expert in the indigenous music (鄕樂). On the other hand, the custom of Gyobang-gayo (敎坊歌謠) continued and Gyobang-gayo was selected and listed as one of the contemporary Joseon court dances (時用鄕樂呈才) in The Guide to the Study of Music (樂學軌範).