거문고 오음약보의 궁(宮)의 이동과 그 이유

Abstract

This study addresses the interpretative issues of kung(宮), sang(上), and ha(下) in the kŏmun'go Oŭm yakbo (five-tone notation) found in Siyong hyangaakbo and Kŭmhapchabo (1572). By revising and reinterpreting these elements, the research challenges the conventional view in Korean musicology, which has traditionally regarded kung as a fixed pitch. Instead, it identifies octave shifts in kung and provides a reinterpretation of the kŏmun'go Oŭm yakbo. The analysis reveals that in p'yŏngjo compositions, the kung centered on the 5th fret of the tae-hyŏn string and the 8th fret of the yu-hyŏn string. In ujo compositions, the kung on the 4th fret of the yu-hyŏn string is pivotal. Furthermore, the study confirms that the Oŭm yakbo of "chŏngsŏkka" in Siyong hyangaakbo documents kŏmun'go melodies, agin to Kŭmhapchabo. It also identifies that in p'yŏngjo compositions, the notes ha-4 and ha-5 belong to the kung at the 8th fret of the yu-hyeon string. The movement of kung is attributed to musical elements such as the initial melody, thematic development, emotional expression, emphasis on poetic phrases, and cadences in p'yŏngjo compositions. Notably, "chŏngsŏkka" employs contrasting kung positions to differentiate musical color and atmosphere across two lines of identical lyrics. This study addresses the challenges in interpreting Oŭm yakbo, contributes to a better understanding of pitch structures in p'yŏngjo compositions, and opens avenues for deeper discussions on the role and significance of Oŭm yakbo in future research.