兩亂 以後 洛陽春과 步虛子의 傳承樣相 - 『朝鮮王朝實錄』·儀軌·笏記를 중심으로 -

Abstract

In Korea there are two pieces of tangak 唐樂 (Chinese-derived music), i.e. Lo-yang-ch'un 洛陽春 and Pu-hsü-tzŭ 步虛子, which have been performed at the National Center for Korean Traditional Performing Arts (Kungnip Kugagwŏn 國立國樂院). Since Lo-yang-ch'un and Pu-hsü-tzŭ have been preserved in old musical manuscripts including Sogak wŏnbo 『俗樂源譜』 (Original Notation of Secular Music), Han'gŭm sinbo 『韓琴新譜』 (Han's New Kŏmun'go Manuscript), and others, the two pieces were studied by Chang Sa-hun 張師勛 in 1950 and by Yi Hye-gu 李惠求 (Lee Hye-ku) in 1960. The historical transition of the two pieces during the late Chosŏn period, however, has not yet been studied from a socio-musicological standpoint in order to understand the historical transition of Chinese-derived music after the Hideyoshi (1592) and Manchu (1636) invasions. The aim of this study is therefore to find out the historical transition of the two pieces after the two foreign invasions. This study is based upon the Chosŏn wangjo sillok 『朝鮮王朝實錄』 (Annals of the Chosŏn Dynasty), Akhak kwebŏm 『樂學軌範』 (Guide to the Study of Music) (1493), and such official documents of court banquet as Chinyŏn ŭigwe 『進宴儀軌』 (1719, 1744, 1901, and 1902), Chinch'an ŭigwe 『進饌儀軌』 (1829 and 1848), Chinjak ŭigwe 『進爵儀軌』 (1828), and Chŏngni ŭigwe 『整理儀軌』 (1795). The study includes such topics as 1) Introduction, 2) Historical Transition of Lo-yang-ch'un Viewed from a Diachronic Standpoint, 3) Historical Transition of Pu-hsü-tzŭ Viewed from a Diachronic Standpoin, 4) Conclusion. In view of an extensive investigation, the conclusion may be summerized in the following two points. First, Lo-yang-ch'un was originally performed at court banquet for Chinese envoy and at the royal audience (choch'am 朝參) ceremony during the reign of King Sejong (1419～1450), and the ritual ceremonies of sacrifice at Munsojŏn 文昭殿 and ceremony of royal audience during the reign of King Sŏngjong (1469～1494). The Lo-yang-ch'un was, however, changed to perform for accompanying court dance including Ch'ŏmsumu 尖袖舞 (Dance of Sharp Sleeve Dress) and for banquet after the viewing archery (kwansa 觀射) ceremony during the reign of King Chŏngjo (1776～1800). Second, the Lo-yang-ch'un and Pu-hsü-tzŭ were characterized by the appearance of various elegant titles for the two pieces since 1828. Kangnak chigok 康樂之曲 (Piece of Happiness), Mansesŏng chigok 萬歲聲之曲 (Piece of Independent Sound), Manse t'aep'yŏng chigok 萬世太平之曲 (Piece of Long Peace), T'aep'yŏngch'un chigok 太平春之曲 (Piece of Peaceful Spring), Hŭian chigok 熙安之曲 (Piece of Splendid Peace), and so on are several examples of the elegant titles for Lo-yang-ch'un, whereas several examples of the elegant titles for Pu-hsü-tzŭ are Kyŏngt'aep'yŏng chigok 慶太平之曲 (Piece of Congratulating Peace), Mannyŏn mugang chigok 萬年無疆之曲 (Piece of Long Life), Sangun chigok 祥雲之曲 (Piece of Good Omen), Ch'ŏnmyŏng yudŏk chigok 天命有德之曲 (Piece of Heavenly Order and Being Virtue), and others.