종묘제례악 기명과 독경의 음악적 변천에 관한 연구

Abstract

This paper aims at studying the process of musical changes of two pieces, Kimyŏng 基命 (Foundation of Decree) and Tokkyŏng 篤慶 (Magnanimous Reverence) in Chongmyo cheryeak 宗廟祭禮樂 (Royal Ancestral Shrine Music), which has been changed successively from Sejong sillok akpo ꡔ世宗實錄樂譜ꡕ(Score of Sejong Annals) to Iwangjik aakpu akpo ꡔ李王職雅樂部樂譜ꡕ (Score of Royal Conservatory of the Yi Household). First, we investigate the duration length of chŏnggan 井間 (well-shaped square) by analyzing the mensural notation (chŏngganbo 井間譜) of each music score and discover the rhythms by analyzing the old music scores. Then we translate the mensural notation into today's music staff, and examine the changes of the verses, the modes, the rhythms and the musical forms. Kimyŏng and Tokkyŏng pieces of Chongmyo cheryeak (royal ancestral shrine music) have been changed mainly through rhythms. Their rhythms in Sejongsillok akpo were 8/4, which fits to their verse forms. When they were adopted as Chongmyo cheryeak and written in Sejo sillok akpo ꡔ世祖實錄樂譜ꡕ(Score of Sejo Annals), their rhythms were still 8/4, which fits to their verse forms. These rhythms were kept until Taeak hubo ꡔ大樂後譜ꡕ(Great Music, Second Volume). Like rhythms their musical forms fit to their verse forms. But the regular rhythm of Taeak hubo was expanded irregularly and changed into an irregular rhythm in Sogak wŏnbo ꡔ俗樂原譜ꡕ(Original Notions of Popular Music). The irregular rhythm of Sogak wŏnbo was divided into irregular measures and changed into another irregular rhythm in Iwangjik aakpu akpo, which does not have any relation with their verses. These changes of their rhythms made the convey of verse meaning totally impossible. Consequently, when Kimyŏng and Tokkyŏng pieces were adopted as Chongmyo cheryeak, they were changed according to their verses to convey their meaning, but from Sogak wŏnbo to Iwangjik aakpu akpo they were changed in the opposite way.