백제 尺八을 통해본 백제악에 대한 재검토

Abstract

Tongdaesa hŏnmulchang ꡔ東大寺獻物帳ꡕ has the record that King Ŭija 義慈王 of Paekche 百濟 gave ch’ŏkp’al 尺八 (shakuhachi in Japanese) to Japan and that there was a ch’ŏkp’al wrapped in silk from Koguryŏ 高句麗. That suggests that the five ch‘ŏkp’al preserved in north storage 北倉, Shōsōin 正倉院 (Royal Storage), were from the Korean peninsula. In Korea, much attention has not been paid to these ch’ŏkp’al, which partly allows the Japanese to deny their origin from Paekche. The Japanese and Chinese scholars, however, have steadily studied on the pitches and frequencies of the sound made by the four ch’ŏkp’al from King Ŭija and their yulche 律制 (lit. pitch system) as early as the Japanese colonial period (1910-1945). First, this research examines those studies and finds out that the ch’ŏkp’al preserved in Shōsōin are a kind of lengthwise mouthpiece wind instrument with different pitches of chŏnp'yeŭm 全閉音 and that they have the scales of ch'i 徵, u 羽, pyŏn'gung 變宮, kung宮, sang 商, kak 角, and pyŏnch'i 變徵 according to the fingering of opening the holes one by one from chŏnp'yeŭm. Then, compared with the yulche of the t'ungso 洞簫 (large vertical flute) in Akhak kwebŏm ꡔ樂學軌範ꡕ(Guide to the Study of Music), the yulche of the Shōsōin's ch’ŏkp’al is different from that of the t'ungso while it is the same as that of Sun Uk's 荀勖 hwangjongjŏk 黃鐘笛 of the Chinese Chin 晋 era. Next, compared with the tanso 短簫 (small vertical flute) of today, their yulche is completely the same as that of the tanso, just except for the third hole of the front five holes of kakcho ch’ŏkp’al 刻彫尺八 of north storage, an ich'ik chijŏk 夷則之笛. It proves that the Paekche ch’ŏkp’al had some influence on the tanso, whose origin has not yet been known so far. Therefore it can be assumed that the common people adopted the ch’ŏkp’al and developed the tanso. Theoretically the Paekche ch’ŏkp’al is thought to have been a musical instrument that had twelve pitches of kungŭm 宮音 judging from its various chŏnp'yeŭm and its regular yulche. It had many different pitches and scales which corresponded to ch'ilcho 七調 (seven modes) of samjuk 三竹 (three bamboo flutes) from Akchi 樂志 (Monograph on music) of Samguk sagi ꡔ三國史記ꡕ(History of the Three Kingdoms), which leads to the conclusion that the music of Paekche must have been very colorful.