조선말~일제강점기 궁중정재의 전승과 재현-연행종목과 반주음악을 중심으로-

Abstract

Gungjung Jeongjae (the court banquet dance) was an important performance that was conducted in a court banquet under the auspices of the royal family. The main cause in the change of Jeongjae was the difficult circumstances in the transmission due to the collapse of Joseon Dynasty. In this presentation, I intend to discuss how Gungjung Jeongjae had changed for the period from the end of Joseon, to Daehanjeguk and Yiwangjik Aakbu. First, I will examine the conditions of transmission by comparing those events of Jeongjae conducted in the end of Joseon and Daehanjeguk period, then I will discuss the aspects of the transition in the course of reproducing Jeongjae during the time of Yiwangjik Aakbu. The events of Jeongjae and the transition of the accompanying music during above mentioned period is as below. Other subjects such as the formation, dance costumes, motions, placement and the number of the dancers of Jeongjae could be discussed from many perspectives. However, I have intended to examine the aspects of the transition as well as the events of Jeongjae in jinyeon and jinchan in each period. In addition, I have discussed the fact that Jeongjae in national banquets that had existed until the Gwangmu year 5 and 6, was not performed completely in the Japanese colonial rule. While studying and referring to 『Jeongjae Mudo Holgi』 of Gyesa year, I could presume the reason why only the 10 events were chosen for the reproduction. I could clearly figure out the transition in the accompanying music and the orchestration from the end of Joseon to Yiwangjik Aakbu period. In the accompanying music of Jeongjae, it was already difficult to distinguish Hyangak from Dangak by the end of Joseon, just as the accompanying music of Hyangak Jeongjae from Dangak Jeongjae, and there was a change in the original system of the accompanying music of Jeongjae that resulted in the fail. Also, Gagok began to be used in Jeongjae music from Sunjo's ruling era and had another name for it. By the end of Joseon, Yeonminlakman and Yeonminlakyeong were disused in the accompanying music, whereas Gagok changed into the accompanying music of Jeongjae. The accompanying music of Jeongjae from the end of Joseon to Daehanjeguk period includes Gagoknonglak, Gyerak, Boheojaryeong, Yeominlakyeong, Yeongsan- hoesang, Jeongeupmangi, Hyangdanggyoju and they were mostly called Wonmugok. The most frequently used Wonmugok for Jeongjae was Hyangdanggyoju and Boheojaryeong. The accompanying music used in reproducing the 10 events of Jeongjae in Yiwangjik Aakbu, in 1930 had a distinctive difference from the precedent. It is remarkable that Jungyeongsan ·Seryeongsan·Samhyeon dodeuri·Taryeong, the styles of Yeongsanhoesang were newly used for Jeongjae music. In the time of Yiwangjik Aakbu, there was a change in the formation of the band in addition to the change of the accompanying music itself. The formation of ensemble of wind and string instruments, which had existed for more than 500 years until the Gwangmu year 5 and 6, had changed into the formation of Samhyeonyukgak(three strings and six horns). Samhyeonyukgak was not used in the formation of the accompanying music of Jeongjae from Joseon Dynasty to Daehanjeguk period but used outside the court or private houses. Therefore, today's accompanying music of Jeongjae by Samhyeonyukgak is the succession of the one of the 1920s, when the formation had changed into the local one from the court one. I have briefly mentioned about the change of Changsa and the melody of Changsa in relation to the accompanying music of Jeongjae. I am to leave it for tomorrow to do an elaborate study on the research results of Changsa by the literary world, in order to find out the overall aspects that appear in the course of the change of Gagok into Changsa melodies.