의암별제 음악 복원의 문화적 의의

Abstract

The Ŭiambyŏlje is a rite held in Jinju in honor of Nongae who threw herself into the Namgang River with the Japanese general during the Japanese Invasion of Korea in 1592. It was suspended due to oppression of Japanese colonial era, but since the 1980s, restoration has been carried out in earnest. The first reenactment of the event, officially introduced in 1992, was well received for its successful restoration of the original version recorded in Kyobang kayo (1872). However, I thought that there was a need for a detailed review because there were many missing parts in the literature. In this article, it was intended to compare the restored Ŭiambyŏlje with Kyobang kayo to diagnose the characteristics of the current Ŭiambyŏlje. We looked at the band and music of Ŭiambyŏlje shown in Kyobang kayo, reviewed how the records of Kyobang kayo were interpreted and reproduced in restoration work since the 1980s, and examined the cultural implications of Ŭiambyŏlje. In summary, the conclusions drawn by this are as follows: First, the music of Ŭiambyŏlje, which is contained in Kyobang kayo, is a combination of royal consciousness and folk music. The Ŭiambyŏlje is a Confucian form in the proceedings of ceremonies and bands, and plays music used in court feasts, local government offices and private feasts. For example, Ŭiambyŏlje is unique in that Tangsang-ak and Tangha-ak are composed of Samhyŏn yukgak, and ritual music and dance music are performed as Kagok. Second, the restored Ŭiambyŏlje is a result of the reorganization based on the records of Kyobang kayo, considering its realism and modernity. The music was generally composed according to the current Kagok and Kasa of the Seoul area, and some of the pieces were composed in the style of ritual music. In the case of band composition, it is confirmed that the difference in records according to the manuscript of Kyobang kayo, the sound at the scene of the performance, and the composition of the band of the current performance culture were combined. Third, the Ŭiambyŏlje has various cultural significance by region and field. The Ŭiambyŏlje is both local and historical in that it has been handed down voluntarily by Jinju citizens. On the other hand, Ŭiambyŏlje has another connection with the royal rite in that it is a women's spiritual rite by women and uses local music for Confucian rituals. In this regard, the Ŭiambyŏlje is likely to serve as the basis for future research on women's studies and local music culture. It is also meaningful in that efforts to properly transfer and restore the Ŭiambyŏlje, which shows the music culture of the late 19th century, are currently underway. Therefore, the music of Ŭiambyŏlje is worth studying continuously, and the future task is to find a more suitable form of historical evidence by comparing the record of Kyobang kayo, which shows the appearance of the late 19th century, with the current music restored at the end of the 20th century, and to balance the field and modernity.