조선시대 등가(登歌)와 전상악(殿上樂)

Abstract

This paper aims to clarify the differences between deungga and Jeonsangak, which have been regarded as the same orchestras in the past. To this end, it examined the origin of both deungga and jeonsangak through the Chinese classics and historical documents of Chinese. Also it scrutinized the operation of the two orchestras in Joseon dynasty by investigating historical documents. The first written reference to the deungga appears in the Confucian classics such as Sŏgyŏng and jurye. It mainly consisted of only singer, geum and seul. Since Sui Dynasty, it had started to include of Po and Juk, which were placed below stairs. As a result, deungga had included both wind instruments and  string instruments after that period. Deungga was brought into Korean peninsula during the period of Koryŏ dynasty. Deungga was designated as a court orchestra after depth discussions in the early period of Joseon. On the other hand, jeonsangak is a orchestra designed in the Joseon Dynasty which can not be found in the Chinese historical documents. In the ancestral rites of Joseon dynasty, the earliest deungga was modeled on the deungga of the ancients Chinese, and geum, seul, and singer were centered and po and juk was excluded. Since the reign of King Sungjong, deungga of Abujerye had included po and juk, and deungga of Sogbujerye had been established and operated for court rituals until the late period of Joseon. Jeonsangak was a orchestra for Wonmyojerye (Royal’s private ancestral shrine), which was lower in position than national rites such as Chongmyojerye or Sajikjerye. It was excluded of jong and gyeong and mainly consisted of instruments of dangak and played sogak, not aak. When it comes to court banquet music of Joseon dynasty, the early type of deungga was recorded at Sejongsillok Orye Karye. It is a form po and juk added to the deungga of gillye, which was the result of referring to the deungga of Sui Dynasty. Deungga consisted of only instruments of aak, played music of aak, sang akjang by singers, and accompanied ilmu. This deungga was set at the period of only King Sejong, King Yeongjo, and King Jeongjo when aak was used as banquet music. In the banquets of the other period, jeonsangak was set and played sogak. A comprehensive view of the documents during the early and the late period of Joseon, jeonsangak is clearly distinguished from deungga by several facts. First of all, jeonsangak is composed of instruments of sogak, not aak. Secondly, jeonsangak accompanies jeongjae not ilmu. Thirdly, jeonsangak is set up behind of dancers, so it is farther from royal seats than deungga. This distinction has continued until the reign of King Jeongjo, but after King Sukjong’s rule, jeonsangak was also called deungga and the name of the band was mixed. All in all, distinction between jeonsangak and deungga became ambiguous after the reign of Sukjong, but these two orchestras were clearly distinguished by the reign of King Jeongjo. According to Akhakkwebeom, which is the most representative of music treatises published in the early Joseon, euigwe of Yeongjo period and Chungwantonggo, deungga and jeonsangak were clearly distinct. Therefore, it make more explicit understanding about Joseon court orchestras to distinguish deungga from jeonsangak.