백제음악의 기본음 연구 방법론

Abstract

This paper deals with the methodology of the study of standard pitch of the music during Paekche 百濟 (BC18?-AD660) kingdom, especially Sabi 泗沘 period (538-660) when Chinese culture was imported in great amount. When its capital was Puyŏ 扶餘 which was called Sabi, the culture of Paekche reached at the peak. Chinese history book such as Chinese Literature Tongdian 『通典』(Comprehensive Standards) and Beishi 『北史』(History of the Northern Dynasties) record the names of wind instruments of Paekche such as chi 篪, u 竽, and chŏk 笛. Five supernatural beings performing the five traditional musical instruments including wind instruments such as chŏk and paeso 排簫 were placed on each of the inner parts of the five peaks of the Paekche Gilt-Bronze Incense Burner. Considering the present instruments with similar names, those instruments are assumed to have produced fixed pitches. In this paper, I used the result of the study of measure for making things such as the Paekche Gilt-Bronze Incense Burner by present scholars of history of Paekche as a material to find out the standard pitch of the music of Paekche. According to the scholars, three measures were used during Sabi period of Paekche kingdom: Namjo ch'ŏk 南朝尺 (measure of Southern Dynasties with about 25cm), that of Tang ch'ŏk 唐尺 (measure of Tang Dynasty with 29cm), and Koguryŏ ch'ŏk 高句麗尺 (measure of Koguryŏ Kingdom with 35.6cm). Firstly, I assumed them as the measure of hwangjong cheok for music temperament, secondly, as yŏngjo ch'ŏk 營造尺 for constructing buildings. Based on the rate between those measures during Chosŏn Dynasty (1392-1910), I calculated the pitch of hwangjong, the first pitch of the twelve tones. The pitch of hwangjong, of namjo ch'ŏk as yeongjo cheok appeared close to that of the present Korean indigenous court music called hyangak, E♭5～E. That of Tang ch'ŏk was major 2nd lower that Namjo ch'ŏk, which reminded me of the relationship between hwangjong of hyangak 鄕樂 and tangak 唐樂 (Chinese style Korean court music). That of Koguryŏ ch'ŏk was lower than the two others. In Japanese court music, there are two kinds of music: Komagaku 高麗樂, music from Korean peninsula, and Tōgaku 唐樂, music from Tang Dynasty China. The first pitch of the twelve tones of Komagaku is E, a major 2nd higher than that of Tōgaku, D. komabue 高麗笛, a flute for Komagaku, plays higher than ryuteki 龍笛, a flute for Togaku. It means that Korean old music which was imported into Japan was higher than the other Japanese court music. The relationship between E, the standard pitch of Komagaku and D, that of Tōgaku is similar to that between E♭5+38, the hwangjong of namjo ch'ŏk as yŏngjo ch'ŏk, and D♭5-1, the hwangjong of Tang ch'ŏk as yŏngjo ch'ŏk, which again reminds me of that between E♭5～E, the hwangjong of hyangak and C, the hwangjong of tangak. The pitch of hwangjong of namjo ch'ŏk as hwangjong ch'ŏk and that of kakcho-ch'ŏkp'al, a kind of flute kept in Shosoin of Japan when all the finger holes are closed are a little higher than that of the present hyangak. In conclusion, it can be said that when the relation between measure and standard pitch was applied, the standard pitch of Sabi period of Paekche kingdom was in between that of Korean hyangak and dangak, and that of Komagaku and Tōgaku. Also, based on this methodology, the difference between the standard pitch of hyangak and dangak can be traced back to Sabi period of Paekche kingdom. Finally, I would like to mention that this paper is only a presentation of a methodology. It means that the result of this paper, the standard pitch of Paekche, subjects to change depending on the finding of new measure, related relics such as musical instruments, or appearance of new scientific methodology, etc.