조선후기 문인음악의 소통과 향유

Abstract

Literati's music is defined as music played and participated by the class of literary intellectuals. During the latter part of Chosŏn dynasty, these men were well trained in music as well as poetry, calligraphy, and drawing. The nature of music they enjoyed was unlike that of professional musicians. Those affiliated with the royal court were trained with music used for various rituals and ceremonies while professional artisans who circulated among commoners answered to the needs of ordinary people in their everyday lives and events. However, literary intellectuals moved around amateur circles creating their own free world for entertaining music. What they did, in contrast to professional musicians, occurred in a smaller scale and was limited to a few musical genres. Nevertheless, as a kind of 'cultural movement,' their activity can be viewed as another attempt at creating new music for the latter part of Chosŏn dynasty. by rendering a lasting effect in society as a whole. One of the reasons for this could be attributed to the attitude of intellectuals at the time. Not only did they view music as tool for improving their minds, rather than for entertainment, but also an important means for 'sharing.' This characteristically appears in music such as Yŏngsan hŏesang 靈山會相, one of the representative string ensemble musics for the intellectuals, centering upon the kŏmun'go 거문고. What we have of Yŏngsan hŏesang today is something fixed and closed to development in terms of musical form. However Yŏngsan hŏesang during the late Chosŏn period was 'open-ended,' like an 'organic body.' This means its features could be altered according to many factors such as performer, surroundings, place, and time of performance. Such an 'open' nature denotes that music had been understood among the intellectuals who participated in its creation as a means for communication. Music 'designed for communication' requires us to look at it with a more liberal mind. A shift from 'ceremonial music' or 'functional music' to 'music for communication and breathing the same air' implies that the method of music participation has undergone a significant change. It reveals the process from music for improving individuals to a musical culture which allowed socialization and communication among its members. This paper has shown that, through acts of musical communication among scholars of late Chosŏn dynasty, creation of string music (chulp'ungnyu) occurred within a specific social and cultural context. Moreover, by focusing on its social environment and cultural features, the role and meaning of literary intellectuals in the development of chulp'ungnyu music as an important means of musical communication has been discussed.