정간보(井間譜) 시가(時價) 해독(解讀)- 조선전기 관련 악보 및 문헌을 중심으로 -

Abstract

There are two different views on the time value of chŏngganbo 井間譜 (Korean mensural notation): the first is to regard chŏnggan 井間 (well-shaped square) as the unit of time value; the second is to regard taegang 大綱 (thick horizontal lines) as the time value. In this paper, I try to suggest a new perspective on the time value of chŏngganbo by examining chŏngganbo of the early Chosŏn period. Firstly, I examined the records of ancient musical scores such as Sejo sillok akpo 『世祖實錄樂譜』 (Music Monograph in the Annals of King Sejo), Kŭm-hapchabo 『琴合字譜』 (Tablature Notation for Kŏmun'go), Yanggŭm sinbo 『梁琴新譜』 (Yang's New Kŏmun'go Manuscript) and discovered that chŏnggan of the early Chosŏn period were the unit of the time value based on the records of Kŭm hapchahae 琴合字解 (interpretation of kŏmun'go tablature notation) and An'gongbŏp 按孔法 (method of fingering position). The record in An'gongbŏp saying that “the length of sounds are different according to number of holes” was crucial for this analysis. Moreover, I examined the meaning of kiak chisi 起樂之始 (starting point of music performance) and yonggang kagi 用綱各異 (differences of using thick horizontal line) and concluded that they cannot be referenced together. Kiak chisi was employed in order to observe the rhythms of music, ŭmak chich'ese 音樂之體勢 (rhythmic style of music), since Hyŏkchŏng 赫整 (Glorious Arrangement) and Sinjŏng 神定 (Divine Decision) of Chŏngdaeŏp 定大業 (Achieving Great Works) start at the second taegang and the third taegang. Yonggang kagi can be found in the man-chung-sak 慢中數 (slow-moderate- fast) music and leads to the following interpretation. Yonggang kagi meant different numbers of appearing notes at the first line while sharing the number of changgo chŏmsu 長鼓點數 (numbers of hourglass drum), paksu 拍數 (numbers of rhythm) and words of songs and with less appearing notes, the tempos of music get faster. However, for Taeguk 大國 (Great Nation), Taeguk 1, 2 share the similarities in terms of the number of the first line appearing notes, changgo chŏmsu, paksu and words of songs that the tempo of much is likely to get faster with the increase of numbers(1, 2, 3) in scores. For the third Taeguk, with the decrease of the appearing notes of the first line and hanggo chŏmsu, the tempo gets faster. For Chinjak 眞勺 (Real Ladle), the appearing notes of the first line decreases, which leads to faster tempo at the latter parts of music in Chinjak 1, 2, 3. Only in Chinjak 4, the decrease of beats affects tempos of music.