종묘제례악 희문, 현미, 대유, 소무, 순응의 원형과 그 변천에 관한 연구

Abstract

This paper studies the process of the musical changes of Chongmyo cheryeak 宗廟祭禮樂 Hŭimun 熙文 Hyŏnmi, 顯美 Taeyu 大猶, Somu 昭武, and Sunŭng 順應 which have been changed successively from the original forms in Sejo sillok akpo 『世祖實錄樂譜』 to contemporary forms in Yiwangjik aakpo. 『李王職雅樂譜』. The rhythmic form of these music pieces is different from that of the other Chongmyo cheryeak in Sejo sillok akpo. All of the verses of Chongmyo cheryeak are written in classical Chinese. In these music pieces most of the characters of the verses don't come up with changgu 杖鼓, but each character takes turns with changgu. In the other music pieces of Chongmyo cheryeak each character of the verses come up at the same time with changgu. Simultaneously looking into rhythmcs ofchanggu, verse and tune, we have found that the rhythm of these music pieces is 4/♩which has four standard beats. One standard beat of it consists of three smaller beats. In these music pieces each character of the verses has two standard beats. At the first beat a character is played, and at the second beat janggu is played. In these music pieces in Sejo sillok akpo, the melodic forms are reasonably fit to their verse forms. The length of each Chinese character is uniform and the length of each verse phrase is also uniform. And each verse phrase ends up a melodic phrase. Even though their verses are shorter than those of the other music pieces, the total lengths of these music pieces are not shorter because each Chinese character has two standard beats and each phrase which ends with yŏŭm 餘音 has sixteen standard beats. These music pieces which fit to their verses were handed down until Taeak hubo 『大樂後譜』 and Sogak wŏnbo In 『俗樂源譜: 仁』. But from Sogak wŏnbo Sin 『俗樂源譜: 信』 to Yiwangjik aakpo, these music pieces had been changed into irrational music pieces which don't fit to their verses.