현행 낙양춘의 형성과정 연구

Abstract

“Nagyangch'un” 洛陽春(Spring in Lo-yang, Lo-yang-ch'un in Chinese) is the only two of remained tangak 唐樂(Chinese-derived music), though its importance, use explanation without concreteness such like “As one of Song 宋 saak 詞樂(music for poetry of Sung China, tz'ŭ-yüeh in Chinese) delivered during Koryŏ 高麗 dynasty, “Nagyangch'un” has changed with the process of transmission until today.” This study examined for concrete describing the formation of “Nagyangch'un” by reviewing all the existing documents that contained the melody of “Nagyangch'un”. First of all, it needs to clear the period of documents that examined the paragraph of dots(■) in Akchang yoram 『樂章要覽』. The dot(■) was breathing marks for the taegŭm 大笒 and each tone in the Akchang yoram has its own rhythm, not one-tone one-beat music. Therefore “Nagyangch'un” in the Akchang yoram and the fourth volume of Sogak wŏnbo 『俗樂源譜』 were the same music. The followings are the features that are founded. The name of “Nagyangch'un” during Chosŏn 朝鮮 dynasty was “Nagyangch'un” and wrote by itself only. During the Japanese colonial era, however, it changed to “Kisu yŏngch'ang chigok” 旣壽永昌之曲(“Piece of Kisu yŏngch'ang”, also called “Kisu yŏngch'ang”). Even after the post- liberation era, “Kisu yŏngch'ang” used as original in the 1970’s not used as secondary until 2007. As for “Kisu yŏngch'ang”, it has never been used as the name of “Nagyangch'un” from Koryŏ 高麗 to Chosŏn dynasty. Changgu 杖鼓(hourglass drum) was necessary for Chosŏn’s “Nagyangch'un” but disappear in the colonial period, chŏlgo 節鼓(large drum) listed instead any relations with the Nagyangch'un’s identity. As same as perspective of any relations with identity, chwago 座鼓(seated drum) listed during liberation era and still same in today. There were some replaces of pitches without melodic variation. During the Japanese colonial era, the scale of “Nagyangch'un” changed into ‘黃·太·姑·仲·林·南·應’(c·d·e·f·g· a·b) and these are still the same in nowadays which had never been in the Chosŏn period. A phrase ‘太仲太黃’(d-f-d-c) at the Chosŏn period changed into ‘太林太黃’(d-g- d-c) and once more divided into ‘太林太黃’(d-g-d-c) and ‘太-太黃’(d-rest-d-c)’ at the colonial period. There was an existence of insertion tones without any basis of documents that makes impossible play as an ensemble. These insertion tones are always exactly in front of original tones and exactly higher than original tones’ pitch so make musical unnatural and disharmony with no musical intention. It had arranged to possible that could play ensemble during the same era but one original melody divided into three melodies by instrument groups and also insertion tones were never gone. Each tone had its own length and “Nagyangch'un” had its own rhythm during the Chosŏn period, yet changed to one-tone one-beat music while colonial era as well one beat composed with three small beats. The one beats were comprised of 1/3-2/3 and 2/3-1/3 beat forms by combined original-insertion tones or original tones themselves. In the Chosŏn period, Hwanip 還入(re-entering, i.e. dal segno) was expressly marked but in the colonial era, it didn’t mark but hint and soon disappeared. Today, Hwanip is marked correctly due to the results of some researches. In conclusion, current “Nagyangch'un” completed around 1936~1939 and there wasn’t altered of melody structure after this. The formation of the current version of “Nagyangch'un” is not transmission but distortion.