大韓帝國期 觱篥差備에 관한 연구 -『의궤』를 중심으로-

Abstract

This paper examines p'iri ch'abi 觱篥差備 written in total four kinds of ŭigwe 儀軌, the royal protocols of the Chosŏn 朝鮮 Dynasty including the Chinch'an ŭigwe 『進饌儀軌』 and Chinyŏn ŭigwe 『進宴儀軌』 in 1901 and two kinds of Chinyŏn ŭigwe in 1902, and their names, roles and activities. Review based on ŭigwe showed that p'iri ch'abi was formed and performed constantly from May 1901 to November 1902. There were 18 players in May, 1901, 19 in July, 1901, 19 in April, 1902 and 20 in November, 1902. They belonged to chŏnjŏng hŏnga 殿庭軒架 chŏnsang 殿上 to play and the frequency of their performance was a little different. Most tunes that p'iri ch'abi played are recorded by nick names. Generally they are Yŏmillak man 與民樂慢, Yŏmillak ryŏng 與民樂令, Pohŏja 步虛子, Palsang man 發祥慢, Wŏnmugok 原舞曲, Hyangdang kyoju 鄕唐交奏 and Nagyangch'un 洛陽春 of which 6 to 7 tunes were played at each feast. Yŏmillak man 與民樂慢 was played when chejo 提調 offered chugi to the emperor in hŏnga 軒架, in case of chinyŏn 進宴 in July, 1901 and Woejinyŏn 外進宴 in April and November in 1902, while Yŏmillak ryŏng 與民樂令, was played in all the four times of chinch'an 進饌 and chinyŏn 進宴. It was played in chinch'an, in Emperor's movement, in Sabaerye 四拜禮 or in Empress Dowager's Ch'ulgungak 出宮樂, and played in chinyŏn in Emperor's coming in and out of the palace, in offering Sijŏp, and in hŏnga 軒架. Pohŏja ryŏng 步虛子令 was played all in four times in Emperor's coming in and out of the palace, in Sabaerye, in offering Sijŏp to emperor. Nakyangch'un was played when the King comes out to paewi 拜位 or chinyŏn site in cases of Naejinyŏn 內進宴 of three times of chinyŏn. In all the other cases, it was played in Sabaerye, in Myŏngbu 命婦 and Chinch'anso 進饌所 tangsang 堂上 nangch'ŏng 郎廳 or in Sabae 四拜 of Chinyŏnch'ŏng 進宴廳 tangsang nangch'ŏng. Palsang man 發祥慢 and Wonmugok 原舞曲 were played as accompaniment for court dance called chŏngjae 呈才. Hyangdang kyoju 鄕唐交奏 was played in all the processes other than above process, in process with no chŏngjae dance performed together with musical performance. As for the frequency of performance by p'iri ch'abi 觱篥差備 in No. 4 yŏnhyang 宴享, the frequency of performance and activity of No. 1 to No. 4 were different. Ch'abi 差備 who took part in No. 1 performance were eight of which four were active as p'yŏnjong ch'abi 編鍾差備, tamji 擔持 and sŏgi 書記. All three ch'abi who took part in No. 2 performance were from court musician of Kyobangsa 敎坊司 (Royal Music Institute of the Taehan Empire) and were active only as p'iri ch'abi. Ch'abi who took part in No. 3 performance were six of which two were active as t'ungso ch'abi 洞簫差備 and taegŭm ch'abi 大笒差備 respectively, and all of them except for one were from court musician of Changagwŏn 掌樂院 (Royal Music Institute of the Chosŏn Dynasty). ch'abi who took part in all of the four times of performance were eleven of which two were from chŏngjae mudong 呈才舞童, one from ka ch'abi 歌差備, one from tangjŏk ch'abi 唐笛差備 and one from changgu ch'abi 杖鼓差備. Seven of them were already active in Changagwŏn before Kyobangsa was established. It has been investigation of p'iri ch'abi in the Korean Empire. So far there hasn't been any full-scale research of p'iri ch'abi nor tradition of it. This study might be a starting point of researching p'iri ch'abi focusing on ŭigwe 儀軌 and lots of research shall be followed.