기악(伎樂)의 변모 양상 -악기 편성과 곡목을 중심으로-

Abstract

In this paper, I first outlined the names of Giak(Gigaku) and the purpose of its performance, examining the aspects of its transformation and its significance by comparing the orchestration and repertories recorded in historical data including Japan’s historical documentations, general inventories of temples, temple-related literature, musical books, and ancient notations. Giak used to be a common noun for music that was used in Buddhists’ rituals. It was used for masked plays since it had been passed to Japan by a Baekje person in the early 7C. It was also called Kure-gaku until 8C. As a part of an incentive scheme by prince Shotoku(聖德太子) to promote Buddhism and foreign music, Giak was featured of temple music that was performed in large Buddhist ceremonies with the emperor attending. Giak belonged to Gagakuryo(雅樂寮) which took charge of court music and was used along with Japanese court music and foreign music in important events, reaching the peak period in the mid 8C. However, it started to decline and came to a complete severance since the Edo period. Giak was orchestrated with Hue(presumed to be a horizontal flute from Korea), Yoko(an hourglass drum shaped instrument), and Shoban(a metal percussion). The players of Yoko reached about 60 in 8C, but the number dramatically dropped to one seventh in 9C. The instruments in Giak were changed to include Hue(Ryuteki), San-no-tsuzumi(hourglass drum), Dobatsi(small cymbals shaped instrument) since 9C, which means that Giak was put under the influence of Gagaku. Dobatsi was no longer used in Giak in 14C, and percussion instruments were excluded, with solo use of Hue only in the end of 17C, making it totally different from the early days. There were maximum 14 pieces in the repertories of Giak until the beginning of 10C, but they were reduced to 9 pieces later. In Newly Compiled Notations(Sinsengakuhu:新撰樂譜) compiled in 966, Giak is recorded in repetition in the section of 'Gigaku(Gigok)', and 'Ichikotsujo' of Togaku(唐樂), which are the same, from which we can presume that there was an attempt to absorb Giak in Togaku at that time. In addition, Butokugaku has been considered a Giak piece as it is included in the book next to the Giak pieces, however, I have found out that this is one of the Togaku pieces and thus is irrelevant to Giak. By the time of publishing Newly Compiled Notations(Sinsengakuhu), there was musical reformation in traditional Japanese court music and Giak was also influenced by this reformation: First, the foreign music performed in the court was divided into Togaku, literally Tang Dynasty music, and Komagaku, the Korean music, gradually excluding Giak, which resulted in its decline. Second, Yoko and a horizontal flute from Korea that were used in Giak were replaced with San-no-tsuzumi and Ryuteki. Third, the Chinese scale was organized into the Japanese scale, which has seemingly caused alteration in Giak that had the characteristics of Korean music, into the one that suits the Japanese taste. Fourth, As the court music began to be performed as orchestral music, there was an attempt to perform Giak as orchestral music without dance accompaniment as well. It can be said that Giak gradually lost its early features being encroached by Gagaku.