악학궤범 소재 당비파의 상조(上調)와 하조(下調의) 성격

Abstract

The purpose of this study was to analyze the sangjo (上調 upper mode) and hajo (下調 lower mode) according to the sanhyeong (散形) turning diagrams of Tang pipa in the Akhakgwebeom, figure out their nature, and demonstrate their relation to “Tang music" (dang ak) in Korea. The notes on the Tang pipa are divided into sangjo and hajo, which are different in various ways explained in the paper. Since it was difficult to specify tones only by analyzing notes used in the pieces, the investigator examined the notes of Tang instruments and melodies to shed light on the nature of the Tang pipa, the upper and lower sangjo and hajo modes more specifically, and found that Tang instruments used the same notes as the Tang pipa’s “lower mode" in Korea. The notes of Tang melodies were also divided into sangjo and hajo types. The “upper” sangjo type had the complete form of a heptatonic scale and the incomplete form of a hexatonic scale, showing the incomplete form in many places. These findings indicate that the nature of Tang notes is clearly revealed through Tang instruments and melodies. In other words, the notes hwang, tae, hyeop, jung, im, nam and mu of the “upper” sangjo mode belong to Hyeopjongwu or ujo mode, the main hwangjong note of which is gung (hwangjong ujo), while the notes hwang, tae, go, jung, im, iam, and eung belong to jungryeochi or chijo mode, the main hwangjong tone is the basic note gung (hwangjong chijo). One can interpret the sangjo and hajo of the Tang pipa only with the notes used in the sanhyeong diagram, but sangjo and hajo can have only one type of tone each, hyeopjong ujo and hwangjong chijo, respectively, when the criteria are Tang instruments and melodies. Although the Tang pipa is a Tang instrument and should thus be related to sokakjo mode, its lower hajo mode is chijo without sokakjo. It is thus difficult to find a relationship between the sangjo and hajo of the Tang pipa in terms of sokakjo. There are a couple of questions still remaining, including the reasons behind differences between the tones of the string and wind instruments among Tang instruments and also a large number of incomplete forms for the sangjo type in Tang melodies. These questions may be addressed as research tasks in future studies.