{악학궤범} 60조의 구성원리와 오음약보의 의미

Abstract

The Meaning of O m yakpo and Principle of Sixty Modes in Akhak kweb m Although modal theory is one of the complicated subject in the field of Korean musicology, it is of great significance in understanding the essence of Korean traditional music. ‘Mode’ is referred to in Sino- Korean as cho or jo 調 (t'iao in Chinese). The theory for sixty modes in the Akhak kwebŏm ꡔ樂學軌範ꡕ(1493) was explained by oŭm yakpo 五音略譜, one of notational systems invented during the reign of King Sejo 世祖 (1455-1468) in the early Chosŏn 朝鮮 period. The purpose of this paper is to investigate the meaning of oŭm yakpo and structural principle of the sixty modes known as yuksipcho 六十調. This paper is based on not only Korean literary sources including Sejong sillok ꡔ世宗實錄ꡕ and Akhak kwebŏm, but also such Chinese sources as Lü-lü hsin-shu ꡔ律呂新書ꡕ by Ts'ai Yün-ting 蔡元定, Lü-lü ching-i ꡔ律呂精義ꡕ by Chu Tsau-yü 朱載堉, and so on. This paper deals with 1. Introduction, 2. Structural Method of Modal Diagram (Chodo 調圖), 3. The Meaning and Structural Principle of Modal Diagram, 4 Conclusion. In viewing of an intensive investigation, it is concluded that the theory for sixty modes of Akhak kwebŏm is based on the that of Lü-lü hsin-shu by Ts'ai Yün-ting. Since a tonal center (kung 宮) of the sixty modal theory in Akhak kwebŏm means to indicate a king (kun 君), the tonal center was notated as kung in the oŭm yakpo, literally meaning ‘five-tone simplified notation,’ but actually a scale-degree notation in which a tonal center (kung) is specified and other notes are described in terms of their distance up or down from the tonal center.