다산 정약용의 ‘三紀六平’에 대한 고찰

Abstract

A Study on Chng Yag-yong's Theory of Samgi Yukpyng Chŏng Yag-yong 丁若鏞 (1762~1834) was a confucian scholar who lived a hard and enthusiastic life in the late Chosŏn dynasty. Among his writings, there is Aksŏ kojon ꡔ樂書孤存ꡕ (Rare Remnants of Musical Writings) that is composed of four volumes including twelve chapters. In this work, Chŏng denied the Chinese musical theory whose root is the same as that of Korean music. In this article, I examine Chŏng's Samgi yukp'yŏng 三紀六平 theory, since he pointed out the problems of the musical theory of old China and suggested the theory as an alternative idea. I can sum up his theory as follows. Firstly, he presented a different interpretation of sŏng 聲 and yul 律 from that of old China through his original understanding of Chinese classics. He understood yul as a standard to distinguish the difference. He understood yul as a mathematical system that distinguish the difference of sound: big, small, high and low sound. Secondly, Chŏng's Samgi yukp'yŏng theory resulted from the interpretation of kiji isam 紀之以三 and p'yŏngji iyuk 平之以六 of Yŏngjugu 伶州鳩 in Kugŏ ꡔ國語ꡕ and of Samchŏnyangji 三天兩地 in Hansŏ ꡔ漢書ꡕ. Thirdly, Chŏng used sambun sonilbŏp 三分損一法 (rule of dividing into third and removing third) instead of sambun igilbŏp 三分益一法 (rule of dividing into third and adding third) that was used in old China to calculate the lengths of the twelve pitch pipes.