대한제국기 궁중음악

Abstract

The Great Korean Empire published Taehan Yejŏn 『大韓禮典』 (The Rite Book of the Great Imperial Korea) which codified the national rituals proper to the status of Empire, only to illustrate her changed status from kingship to emperorship. In Taehan Yejŏn, new kinds of rituals and manners were established including Won‘gu 圜丘 Rite in order to manifest herself as emperordom, while the rituals of Chosŏn dynasty which were served as those of kingdom were abolished. The court music was also transformed both in succession of the court music of Chosŏn dynasty and in conjunction with the changed status of emperorship. For instance, hŏn'ga 軒架 of court music was changed to kungga 宮架, and ilmu 佾舞 (ritual dance) performed at Chongmyo 宗廟 shrine and Munmyo 文廟 shrine was elevated to p'al ilmu 八佾舞(eight line of ritual dance). The size of hŏn'ga which were served in rituals with folk music became expanded compared to that of the late Chosŏn dynasty and at the same time elevated with the addition of court music instruments. Despite such external changes, the basic rule that music was differently used according to the order of rituals did not change. The rituals procedures of court banquets were also changed to have complicated forms in addition to the transformation of the instruments. Moreover, the occasions of court banquets and rituals for offering food greatly increased with night banquet called yayŏn 夜讌 and post banquet known as hoejak 會酌; the performance of court music and dance adopting complex procedures increased compared to the late Chosŏn dynasty. Despite the external increase of the sizes and occasions, new kinds of music performed at court banquets were not created at all. Most of musics adopted the music of the late Chosŏn dynasty with the use of glorious titles. Moreover, one of the prominent characteristics of the court banquet of the Great Korean Empire is that Western military band performed music in certain procedures.