악학궤범 향악7지 시용궁 지시 12음의생성 원리 연구

Abstract

The key theory called hyangak ch'ilchi 鄕樂七指 (also called hyangak ch'ilcho 鄕樂七調) was documented in Akhak kwebŏm,『樂學軌範』 (Guide to the Study of Music), published during the reign of King Sŏngjong 성종(成宗 1469-1494). This is a theory in which the 12 pitches of the modal tonic for ensemble are referred to seven keys (ch'ilchi 七指), the sound produced from taegŭm 大笒 (large transverse flute) with seven holes. It suggests 7 key names and refers 12 pitches to 7 keys by corresponding one or two pitches per each key. The key called ilchi 一指, produced by softly blowing taegŭm with the first hole from the bottom open, refers to two pitches called hyŏpchong 夾鍾 (chia-chung in Chinese) and kosŏn 姑洗 (ku-hsien). The key iji 二指, with the first and second holes open, refers to chungnyŏ 仲呂 (chung-lü) and yubin 㽔賓 (jui-pin). The key samji 三指, with the first, second, and third holes open, refers to imjong 林鍾 (lin-chung). The key called saji 四指 (also called hoengji 橫指), with the first to the fourth hole open, refers to ich'ik 夷則 (i-tsê) and namryŏ 南呂 (nan-lü). The key called oji 五指 (or ujo 羽調), with the first to fifth hole open, refers to muyŏk 無射 (wu-i) and ŭngjong 應鍾 (ying-chung). The key called yukchi 六指 (or p‘alcho 八調), with the first to sixth hole, refers ch'ŏnghwangjong 淸黃鍾 (ch'ing-huang-chung). The key called ch'ilchi 七指 (or makjo 邈調), the sound produced by normally blowing taegŭm with the first to last hole open, refers to ch'ŏngdaeryŏ 淸大呂 (ch'ing-ta-lü) and ch'ŏngt'aeju 淸太簇(ch'ing-t'ai-ts'ou). The hyangak ch'ilchi 鄕樂七指 refers 12 pitches to seven keys in this way. Still, there remains some questions regarding to this hyangak ch'ilchi principle. Why does it refer 12 pitches but not 7 pitches? Why does it refers one pitch to the third and sixth key and two pitches to the first, second, fourth, and seventh key? Why does it refer two pitches to the first key, tonic, and why is that tonic hyŏpchong 夾鍾, but not hwangjong 黃鍾? These questions have not been solved until now in the music theory scholarship of Korea and China. The facts that taegŭm 大笒 (large transverse flute) that plays a role in the hyangak ch'ilchi 鄕樂七指 principle comes from Sŏyŏk 西域, Cental Asia and west regions of China, including India, and the Central and west Asia, and that the hyangak ch'ilchi theory features cognate syllable names, the characteristic of Sŏyŏk music show that the hyangak ch'ilchi theory is from the theory of Sŏyŏk music. Therefore, the questions regarding the hyangak ch'ilchi principle may be solved with the theory of the Sŏyŏk music. Raga of Indian music, similar to hyangak ch'ilchi, is based on cognate syllable names. Instruments like ancient veena and bansuri, similar to taegŭm 大笒 and kŏmun'go 거문고 (six-strined zither), play heptatonic scales. Therefore, the hyangak ch'ilchi theory can be solved with Indian music theory. As one of the examples of Indian music, 10 ttat of North Indian music has the same way of referring 12 pitches to seven keys by corresponding one or two pitches per key to the Korean hyangak ch'ilchi: Sa refers C, Ri refers D and D flat, Ga refers E and E flat, Ma refers F and F sharp, Pa refers G, Dha refers A and A flat, and Ni refers B and B flat. To analyze the principle of making 12 pitches of North Indian 10 thaat with the contemporary music theory, 12 pitches are made when all pitches of 10 scale with cognate syllable names are referred with instruments tuned by heptatonic scale. When Chinese 12 pitches are referred with the principle of making 12 pitches of Indian thaat, ‘the first hole’ refers hwangjong 黃鍾, ‘the second hole’ refers taeryŏ 大呂 and t'aeju 太簇, ‘the third hole’ refers hyŏpchong 夾鍾 and kosŏn 姑洗, ‘the fourth hole’ refers chungnyŏ 仲呂 and yubin 㽔賓, ‘the fifth hole’ refers imjong 林鍾, ‘the sixth hole’ refers namryŏ 南呂 and ich'ik 夷則, ‘the seventh hole’ refers muyŏk 無射 and ŭngjong 應鍾. Furthermore, ‘the first hole with py'ŏngch'wi 平吹’ (blowing normally) refers to ch'ŏng- hwangjong 淸黃鍾, ‘the second hole and py'ŏngch'wi’ refers ch'ŏng- daeryŏ 淸大呂 and ch'ŏngt'aeju 淸太簇, ‘the third hole and py'ŏngch'wi’ refers ch'ŏnghyŏpchong 淸夾鍾 and ch'ŏnggosŏn 淸姑洗. It seems that these were used in the early stage of yŏnak 燕樂 (localized Chinese music that came from Sŏyŏk), but there is little evidence now. It appears that when Chinese yŏnak was imported to Korea, the theory (referring twelve pitches out of seven key) related to the earliest yŏnak was also imported. Korea seems to have established the theory of referring hwangjong out of the sound with the first hole open. This is because hojŏk 胡笛 (lit. barbarian flute, i.e. Chinese sona) might have become longer and thus its sound might have become lower since Korea had the aesthetic culture of preferring low range of sound. Therefore, it seems that the hyangak ch'ilchi 鄕樂七指 of Akhak kwebŏm 『樂學軌範』(1493), with retaining the principle of referring 12 pitches to the sound of tangjŏk 唐笛 (small transverse flute of Chinese origin), was made by lowering the pitches such as hwangjong 黃鍾, muyŏk-ŭngjong 無射-應鍾, ich'ik-namnyŏ 夷則-南呂, and hyŏpjong-kosŏn 夾鍾-姑洗 in the fifteenth century.