선초 속악의 7음음계에 관한 연구

Abstract

This article examines the scale structure of the 7-note scale in the Sejo shillok and Sejong shillok and demonstrates its characteristics and differences in order to reveal the characteristics of the 7-note scale in the court music of early Chosŏn Dynasty. This article indicates that the compositional notes of the 7-note scale in Korea, which newly emerged in the early Chosŏn Dynasty, were a form of integrating the 5-note p'yŏngjo and 5-note kyemyŏnjo. In other words, the 7-note scale of "黃(Hwangjong)·太(T'aeju)·夾(Hyŏpchong)·仲(Chungnyŏ)·林(Imjong)·無(Muyŏk)" is the 7-note scale of Sogak (Court music) in the early Chosŏn Dynasty. Comparing the 7-note scale with the characteristics of the Chinese court music (Yŏnak 燕樂 and Ch'ŏngak 淸樂) scale accepted in Korea, this article identifies that the scale of Chinese court music accommodated in Korea has the same structure as that of China, but the position of the additional notes 變音 is different. In other words, in Korea, the 3rd note, which is the main sound of the Chinese Court music (Yŏnak 燕樂 and Ch'ŏngak 淸樂) scale, is rarely used, but rather the 4th note, which is the additional note of Chinese court music, is mainly used. Since the 6th uses the same additional note as the 7-note scale of Chinese music, the 7-note scale of Korean court music consequently became a unique Korean scale different from Tangak 唐樂, Hyangak 鄕樂, and Aak 雅樂 in Chosŏn Dynasty. The 7-note scale, which newly emerged in the early Chosŏn Dynasty, is significant in that it served as an opportunity to expand the scope of music by using more notes beyond the limit of the existing 5-notes in the creation of music at that time. In particular, originality can be found in that it has achieved a different structure from China by combining p'yŏngjo and kyemyŏnjo, which are the existing tunes with a long history and tradition.