명금(名琴) 이수경(李壽卿)의 음악 유산

Abstract

Yi Su-gyŏng (李壽卿, 1882–1955), known for his contributions as a court musician during the late Chosŏn Dynasty, the Korean Empire, and the Japanese colonial period, is celebrated as a master of the kŏmun'go. This paper summarizes his life and achievements, examining the transmission of court music and the activities of musicians within the context of institutional changes. Yi Su-gyŏng joined the Royal Music Institute (Changagwŏn, 掌樂院) as a musician in 1892 (the 19th year of Gojong’s reign) and became a leading figure in court music, holding positions as the Aak sujang (雅樂手長) and the Aaksa (雅樂師) of the Yiwangjik aakpu (李王職雅樂部). His grandfather, Yi In-sik, and father, Yi Wŏn-gŭn, were renowned performers of the p'iri during the late Chosŏn period, and the legacy of court music has been preserved through five generations, including his son Yi Pyŏng-sŏng and grandsons Yi Tong-gyu and Yi Chŏng-gyu. Coming from a hereditary musical lineage, Yi Su-gyŏng received systematic training in musicianship from a young age, and performed as a musician during court banquet. Also he was a distinguished kŏmun'go player known for his exquisite performance of "Yŏngsan hoesang" During his time at the Yiwangjik aakpu, educating new musicians, and engaging in instrument production and administrative work for music institutions. Yi Su-gyŏng not only inherited the lineage of hereditary musicians but also demonstrated remarkable talent and skill through rigorous training, establishing himself as a preeminent figure in kŏmun'go performance, instructing Chongmyo Cherye akchang, and the teaching of court dances (Chŏngjae, 呈才). Through Yi Su-gyŏng's career, one can assess the state of court music transmission and the activities of musicians amidst the institutional transformations prompted by social changes. Yi Su-gyŏng dedicated his life to court music from the late Chosŏn period through the Japanese colonial era, embodying and preserving its spirit as a musician. His accomplishments hold significance for their contributions to sustaining court music during a time of dramatic transformation and potential disruption. His elaborate kŏmun'go melodies, alongside the court dances and ritual music he taught, remain invaluable cultural legacies today.