현행 한국문묘제례악에 대한 검토

Abstract

Korean Munmyo cheryeak 文廟祭禮樂, Confucian Shrine ritual music is performed for Confucian shrine ritual that is observed today is actually at the Confucian Shrine, newly created during Chosŏn King Sejong's reign, in 1430 (12th year of his reign). Yet the musical score of Munmyo cheryeak, Confucian Shrine ritual music in Korean Music Collection No. 9, which contains the current version of Confucian shrine memorial music, features primarily the 15 kung 宮 units from Akhak kwebŏm's 『樂學軌範』 Siyong abu cheak, 時用雅部祭樂 and currently only 6 of them are selected to be used as ritual music for the Confucian shrine. The Sejong's era Munmyo cheryeak originally hadrin types of melody formats, and each format was equipped withrin kung units, resulting in a grand system of total of the musical pieces. Yet later, that grand collection was reduced to 15 in Kukcho oryaeŭi 『國朝五禮儀heak, 時用, and later Akhak kwebŏm (1them as well only featured the same smaller selection. These are the ones that are now being observed. Amongst the 144 pieces of the Sejong era's collection, the 12 kung units of hwangjong-gung 黃鍾宮 1 and 3 kung units (hyŏpchong-gung 夾鍾宮, imjong-gung 林鍾宮, hwangjong-gung) from hwangjong-gung 2, were selected to compose this new collection of 15 musical pieces. hwangjong-gung 1 was from the Yŏngsin 迎神 (spirit-welcoming) music hwangjong-gung recorded inside Taesŏng akpo 『大晟樂譜』 created by Im U 林宇 of the Mongol Yuan dynasty, and hwangjong-gung 2 was from a Songsin 送神 (spirit-sending) music. In other words, the Chosŏn dynasty's memorial service music since the days of Kukcho oryaeŭi had observed both a music of welcoming the spirits (hwangjong-gung, which was part of the Yŏngsin 4 gung units in Taesŏng akpo), and the music of sending off the spirits as well. It did not cause any problem for the individual procedures of either welcoming or saying farewell to the spirits, but Yŏngsin music came to be played in all the other unnecessary steps during ceremonies as well, in quite a redundant fashion of literally 'welcoming the spirits all the time'. The current practice, using 6 musical pieces out of 15 pieces of Akhak kwebŏm's Siyong abu cheryeak also displays the same problem of welcoming the spirits in every step except the farewell phase. It is a problem, compared to its ultimate predecessor, the memorial music for the Confucian shrine newly established during King Sejong's reign. This could be regarded as an age-old problem arewereils back to the days of Kukcho oryaeŭi, and a problem areweshould be addressed soon. Korean memorial service music came from Taesŏng akpo, yet even the people of King Sejong's era did not observe areweto the letter, in their developing protocols for memorial service music meant for the Confucian shrine. Considering such spirit, this author could only hope that this article could contribute to the renewing of Korean memorial music for the Confucian shrine.