건고(建鼓)의 역사와 상징

Abstract

The present study examines the origin, term, history, transmission, usage, and symbolism of Kŏn'go (huge barrel drum 建鼓), which began in antiquity, from a variety of perspectives in the history of music culture through both synchronic and diachronic approaches. The Kŏn'go was arranged in hŏnga (軒架), courtyard ensemble and performed at court rites during the Chosŏn Dynasty (1392-1910). This instrument was organized and used in the courtyard ensemble during rites including the royal court’s celebratory rites and military rites. The Kŏn'go is the largest and the most elaborate drum from among extant percussion instruments from the Chosŏn Dynasty. However, the Kŏn'go hitherto has failed to receive attention from South Korean musicologists for the reason that it is not an actively and commonly used instrument today, show cased only in the exhibition halls of museums or at certain events for the reconstruction of traditional performances. On the contrary, in surrounding countries such as China, research on the Kŏn'go has been comparatively active and studies on the instrument’s history and symbolism have been conducted. In contrast since studies on the Korean Kŏn'go are scarce research on the nation’s instruments for court ritual music from diverse perspectives are necessary. While nearly unmodified in its basic form antiquity to this day, Kŏn'go has repeatedly changed in its usage and symbolism according to the era and the nation. In this respect, the topics addressed in the present study can be seen as constituting a diachronic examination of Kŏn'go: the birth of the ancient Kŏn'go; the meaning of and changes in the term; a reexamination of the relationship between the Kŏn'go of Chosŏn Dynasty and the ipgo (立鼓) of Koryŏ Dynasty (918-1392), which is known as the forerunner of the former instrument; and the characteristics, production, and use of the Kŏn'go during Chosŏn Dynasty. Apart from such history of the instrument, the cultural and iconographic symbolism of the Kŏn'go including its form, engravings, and motifs make possible a consideration of the Kŏn'go from a synchronic perspective through research in terms of the history of music culture.