조선 초기 향당교주의 중심음에 관한 연구 -악학궤범의 향ㆍ당악기 산형과 연주 악곡을 중심으로-

Abstract

The foundation of the National Gugak Center provided generous opportunities to researchers and music lovers. This study is conducted to examine how Hyangdang gyoju was performed during the early part of the Joseon period. This research is based on the previous studies on Hyangdang gyoju, and the patterns of mixture of Hyangak and Dangak in the early Joseon era. For this purpose, Akhakgwebeom, a compilation of music contents of the time, is used as the major analysis material. First of all, the Hyangak and Dangak theories and notation systems, which apparently were the theoretical background of Hyangdang gyoju, have been examined by looking into Vol.1 of the compilation. Following it, the central tone, recorded in the Sanhyeong (Instrumental Tonal Structure) of Hyangdang gyoju band instruments, was studied, focusing on Vol. 2 and 7. Finally, the central pitch of Hyangdang gyoju of the early Joseon era has been examined by investigating the pivotal tones of the musical pieces performed with Hyangdang gyoju, appeared in Sejongakbo, Sejoakbo and Daeakhubo. Theories applied in Hyangak and Dangak and notation systems documented in Akhakgwebeom revealed that the theories adopted during the early Joseon period clearly shows the characteristics of Joseon Hyangak, using the Aak theory as a framework. Regarding the notation system, the 'Sanghailiji-beop', which was employed to notate Hyangak, and 'Gongcheokbo' that was the Dangak notation system, were adopted with identical applications. And a new system to document music, equipped with features of both the Hyangak and Dangak, which was named as Sinak (new music), was established, employing these musical notations. It can be said that the Hyangak and Dangak theories and notation systems, which were established for generations throughout the King Sejong to Seongjong periods, became a theoretical background to appreciate and record Hyangdang gyoju with consistent principles. The study of the instruments employed in the Sanhyeong performance in the Hyangdang gyoju band in Akhakgwebeom Vol. 7 also revealed that 'Cheonghwangjong' was referred to 'Gung' (the first tone) in most of the Sanhyeong musical pieces of Dangak. For daegeum, which is a Hyangak instrument, seven Sanhyeongs are recorded, and 'Gongcheokbo' was mentioned only in 'Paljo' where 'Cheonghwangjong' is used as 'Gung. ' This suggests the probability that when Hyangak and Dangak instruments were played together, the 'Gung' or the central tone, was set to 'Cheonghwangjong'. Having this possibility in mind, I looked into the central notes of the musical pieces performed with 'Hyangdang gyoju', and discovered that most musical pieces of early Joseon times were in 'Cheonghwangjong gungjo.' Based on this, this research has determined that Hyangak and Dangak instruments were played together, by setting the 'Cheonghwangjong' as the principal tones when playing 'Hyangdang gyoju' during the early Joseon era. It is a known fact that a new performance technique called 'Hyangdang gyoju' was developed during this time period to the academic world, through previous studies carried out by earlier scholars. The ensemble contents of Hyangak and Dangak instruments, however, so far, have been considered to be somewhat vague. I argue that my study is significant, because clues about the actual performance of 'Hyangdang gyoju' were revealed by this research.