거문고 향악조 청풍체의 ‘잉’(剩)에 관한 연구

Abstract

This study as a treatise on the system of modes and keys native to Korea hyangak akcho 鄕樂樂調 (tonal theory of hyangak, native Korean music) re-establishes the modal characteristics of p’yŏngjo 平調 and kyemyŏnjo 界面調 as presented in Akhak kwebŏm 『樂學軌範』 (Guide to the Study of Music) and examines the question of word ing 剩 in ch’ŏngp’ungch’e 淸風體, First, p’yŏngjo and kyemyŏnjo are analyzed in terms of kwech’abŏp 棵次法, sequence of fret fingering positions. In p’yŏngjo, there are 2 frets and 2 yul 律, moving up from kung 宮 (sol) to sang 商 (la), 3 frets and 3 yul from sang to kak 角 (do), 2 frets and 2 yul from kak to ch’i 徵 (re) and finally 2 frets and 2 yul from ch’i to u 羽 (mi). By the same token, kyemyŏnjo sets down 3 frets and 3 yul from kung (la) to sang (do), 2 frets and 2 yul from sang to kak (re), 2 frets and 2 yul from kak to ch’i (mi) and 3 frets and 3 yul from ch’i to u (sol). To identify the true meaning of ing, harimjo 河臨調 is considered which refers to ch’ŏngp’ungch’e. Hyangakki tosŏl 鄕樂器圖說 (Illustrating Pictures of native Korean instruments), the Akhak kwebŏm, states that ch’oijajo 嗺子調 and ch’ŏngp’ungch’e are identical with harimjo, as a result of correlation made between kayagŭm 伽倻琴 music harimjo in two different modes and that of kŏmun'go 거문고. In other words, the term harimjo with its kung 宮 at the 5th fret, in both p’yŏngjo and kyemyŏnjo is used to refer to both ch’oijajo in kyemyŏnjo with t’aeju 太簇 as its kung or ch’ŏngp’ungch’e in p’yŏngjo with kosŏn 姑洗 as its kung. Moreover, a review of the descriptions of ch’ŏngp’ungch’e in both the Akhak kwebŏm and the Sŏngho sasŏl 『星湖僿說』 (Essays by Sŏngho Yi Ik) confirms that there is a relationship between ing and t’angmokcho 啄木調. The Akhak kwebŏm notes that ch’ŏngp’ungch’e is also referred to hokch’ing 或稱 (lit. also called) as ing. This expression hokch’ing is used when something is referred to by a word or an expression that is understood to symbolize it, unlike hokch’ing which denotes a specific alternative name. It was not possible to identify a symbolic linkage between ing and t’angmokcho in lexicon terms with t’angmok defined as woodpecker. If ing is a typological mistake for pak 剝, however, pak can be understood as an onomatopoeia, describing pecking of a woodpecker. On this basis, it can be established that ing refers to t’angmokcho. Lastly this study examines the relationship between t’angmokcho and ch’ŏngp’ungch’e. T’angmokcho having its hwangjong kung 黃鍾宮 on 4th fret appears to be a simple transposition of ch’oijajo with t’aeju as its kung on 5th fret in kyemyŏnjo. As the Akhak kwebŏm describes ch’oijajo to get her with ch’ŏngp’ungch’e as harimjo, there is a direct connection between t’angmokcho and ch’ŏngp’ungch’e. This presents a musical basis to interpreting in ch’ŏngp’ungch’e as t’angmokcho. Investigations for this study have helped to clarify the meaning of ing in concrete terms which has so far remained unresolved among the scholars and to expand the understanding of relationships between harimjo, ch’ŏngp’ungch’e and t’angmokcho, all connected with ing.