보허자․낙양춘의 한국적 수용에 대한 대비적 고찰

Abstract

As this paper considers in contrast about the Korean accommodation of Boheoja and Nakyangchun, it reveals the distinction in the two songs of the Joseon Dynasty that is demonstrated in the difference of being used in the royal court and the inheritance process. Through this, it capitalizes on the classification of each purpose, as well as the existence of differential properties. In addition, it was observed that the development process where many derivative music are made as to Boheoja was propagated into civilian pungryubang music. On the other hand, noticing the difference in how Nakyangchun was only maintained as royal court music, this paper tries to infer the meaning about the differences between Boheoja and Nakyangchun that is revealed in the propagation of pungryubang music in the late Joseon Dynasty. The core contents are as follows: Although both Boheoja and Nakyangchun came from Song Dynasty of the Goryeo Dynasty, unlike Boheoja, there is a distinct difference that Nakyangchun is not used as the accompanying music of Jeongjae. In addition, there is a difference that Nakyangchun is used for the memorial rites of Munsojeon while Boheoja is not. As a result, there are currently two types of music for Boheoja, including royal court music and pungryuak and only royal court music for Nakyangchun. There has been no discussion about the fact that only the Boheoja has been propagated as pungryubang music among the two songs, Boheoja and Nakyangchun, which has been handed down until the late Joseon Dynasty from Songsaak. The reason discussion has not been made is because questions about the situation itself has not been investigated. It is believed that the reason Nakyangchun was not propagated as pungryubang music is due to lack of understanding about the acceptance aspect compared with Boheoja. In this regard, there is a uniform significance in the discussion from the contrast point of view about Boheoja and Nakyangchun dealt within this paper.