『악학궤범』 속악 7조 기본음(궁)의 성립 배경

Abstract

This study aims at demonstrating that the theory on Sogak 7 keys 俗樂七調 was established based on the Chinese theory of Sogak 俗樂, and to set up a theoretical framework for the musical scales of hyangak 鄕樂. Sogak 7 keys in Akhak kwebŏm 『樂學軌範』 is explained based on two systems. One pertains to 12 yul 律 7 keys divided into 7 units, including hwangjong 黃鍾, taeryŏ/t'aeju 大呂/太簇, hyŏpchong/kosŏn 夾鍾/姑洗, yubin/ chungnyŏ 㽔賓/仲呂, imjong 林鍾, ich'ik/namnyŏ 夷則/南呂, and muyŏk/ŭngjong 無射/應鍾 of hyŏn‘gŭm/taegŭm 玄琴/大笒 (Akhak kwebŏm, kwŏn 卷7), and the other pertains to 7 yul 律 7 keys divided into 7 units including kosŏn, chungnyŏ, imjong, namnyŏ, ŭngjong, hwangjong, and taeryŏ of hyangbip'a/kayagŭm/taegŭm 鄕琵琶/伽倻琴/大笒 (kwŏn 卷1). Sogak 7 keys in the form of 12 yul 7 keys was established by accommodating the 48 basic scale systems (cho 調) of Chinese Sogak, and the Sogak 7 keys in the form of 7 yul 7 keys was set up based on the system of kongch'ŏkpo 工尺譜 (Chinese kung-ch'e notation). As shown above, the Sogak 7 keys in Akhak kwebŏm is based on the Chinese theory of Sogak, but each has a different background to its establishment. This paper proposes that the theory of Sogak 7 keys was based on the theory of Chinese Sogak because just as the theory of Aak 雅樂 was applied to Korean Aak according to the system of Aak and Sogak in China, the theory of Sogak was also applied to Korean Sogak. Sogak 7 keys is based on two systems, and the background to their establishment differs because the theoretical framework that was established through the accommodation of Chinese Sogak 48 Jo and kongch'ŏkpo. When establishing Sogak 7 keys theory, the theory of Chinese Sogak was accommodated, but only its basic sound system; an independent theoretical framework was set up through the reflection of the specific qualities of hyangak with regard to sŏnbŏp 旋法 (mode).