石印本 『琴譜』의 생성과 계보 연구

Abstract

This study intends to introduce Sŏginbon Kŭmbo to the academic world and attempts to shed light on its origin, genealogy, and value. As a result of examining the material, it was found that it was a score published in 1953 by Boch'ŏn'gyo chungang cho’ngjŏngwŏn, the central institute of Boch'ŏn'gyo . For this reason, 『Kŭmbo』( by Boch'ŏn'gyo ) was suggested as the name of this material. Judging from its bibliography, structure, and contents, it adheres to the standards of the woodblock-printed scores of the Chosŏn Dynasty in terms of its cover, design, kwanggwak, kyesŏn, haenggwan, ŏmi, and p’ansim, even though it was published as recently as 1953. Its structure is considered relatively stable. However, as there is neither a preface nor an epilogue, it is very difficult to determine the author and the purpose of its publication. After examining the genealogy of this material, it is assumed that it may have descended either from Yanggŭmsinbo to the Kŭmbo in the possession of the National Gugak Center, or from similar materials to the Kŭmbo in the possession of Pak Kihwan, or to Boch'ŏn'gyo Kŭmbo. In conclusion, the values of Boch'ŏn'gyo Kŭmbo can be summarized in the following three points: First, it is significant in that this is the only old music score among those discovered so far that was printed using modern lithography. The fact that there are 10 copies of Boch'ŏn'gyo Kŭmbo proves that multiple copies were printed together, which promoted the circulation of the score. Second, it is quite clear who published it and when it was published. The publishing office could provide leads on those who decided to publish the score, and the time of publication clearly indicates when it was produced. Finally, the material’s structure and contents are as stable as those of woodblock prints. Thanks to this, it was possible to identify its genealogy. The significance of this material can't be overstated, as the music score for traditional music was published lithographically in the early 1950s—one of the most confusing and difficult moments in modern Korean history—by a private organization with the intention of promoting its circulation.