조선전기 궁중정재의 박(拍) 운용 양상 - 『악학궤범』을 중심으로 -

Abstract

This study examined the usage trends of Pak (拍) in the royal court dance (chŏngjae, 呈才) of the early Chosŏn Dynasty. By analyzing the utilization and direction of Pak in both Tangak chŏngjae and Hyangak chŏngjae as documented in volumes 4 and 5 of “Ak’akkwebŏm”, both commonalities and differences were identified. In both types of chŏngjae, Pak was used to direct the accompanying music's beginning (Akchak, 樂作) and ending (Akchi, 樂止) and the progression of dance such as initiation, dance formations, and changes in movements. In addition to messaging instructions by striking the Pak, Chippak Aksa (執拍樂師, player of Pak) were responsible for leading the ensemble onto the stage and also arranging stage equipment. These were also commonalities between Tangak and Hyangak chŏngjae, and Yŏryŏng (女伶, female performer) replaced this role during court banquets for internal guests (內宴). It is noteworthy that Chippak Aksa played a major role in directing chŏngjae. On the other hand, in Tangak chŏngjae, Pak played a significant role in signaling the entrance and exit of performers responsible for Kuho (口號) and Ch’iŏ (致語), as well as directing the Ch’angsa (唱詞). In other words, in the case of Tangak chŏngjae, due to its stylistic characteristics, the regularity of using the Pak in specific procedures or the proportion of the Pak is higher than that of Hyangak chŏngjae. In the case of Hyangak chŏngjae, the dance may be performed according to the Pak's flow of playing in addition to the directing by Chippak Aksa. This includes changing the formation, playing the dancing props (instrument), and finishing the chŏngjae process. This is a characteristic of Hyangak chŏngjae, which is not well observed in Tangak chŏngjae. While Tangak chŏngjae of the early Chosŏn show signs of adopting the style of Song (宋) Dynasty’s Taegok (大曲), which was accepted during the Koryŏ Dynasty, and the usage of Pak, Hyangak chŏngjae shows traces of adopting and further developing the usage of Pak from Tangak chŏngjae. In summary, the study concludes that Pak performed a critical role in music operations in the early Chosŏn Dynasty, directing the music for chŏngjae, coordinating performer movements, and facilitating the performance proceedings of ceremonies, resembling the responsibilities of contemporary stage managers who provide cues during performances. Hence, it can be inferred that Chippak Aksa in royal court dance (chŏngjae, 呈才) fulfilled the role of stage directors, overseeing and directing the progression of performances.