악학궤범 당비파의 제도에 관한 연구

Abstract

In this study, the four-stringed lute (tang pip'a 唐琵琶) design described in Guide to the Study of Music (Akhak kwebŏm 『樂學軌範』) is examined. Also, the changes that occurred to that design are examined as well, through several sources such as the Five Rites (Orye 五禮) section of the Sejong sillok 『世宗實錄』, Introductory Rite (Sŏrye 序禮) of the Five Rites of the Nation (Kukcho oryeŭi 『國朝五禮儀』), and of course Akhak kwebŏm itself. From the number of frets (chu 柱) attached to the neck section and the body portion, and the position of such chu pieces, we can see that original features of the four-stringed lute (kokkyŏng pip'a 曲頸琵琶) as a musical instrument from the Ancient Iranian culture were still preserved in the design of Korean tang pip'a of the early Chosŏn dynasty, and that, as part of a variation, more than eight frets were newly added to the original body. Also, the tang pip'a described in Akhak kwebŏm had fewer frets compared to the instrument's description made in the Sejong sillok. Considering the fact that fret number 1 to 4 were used in playing tangak (music of Chinese origin), while the other 4 frets below were used in playing hyangak (native Korean music), we can see that the additional frets were added to the body portion to make it easier in playing hyangak or the new music 新樂) in p'yŏngjo 平調 and kyemyŏnjo 界面調 modes. This design remained the same until the Tablature Notation for Kŏmun'go (Kŭm hapchabo 『琴合字譜』: 1572) stage of the following periods. Considering all these original figures and changes, we can see that in order to successfully reproduce Korean tang pip'a today, we should base the design upon the original design featured in Akhak kwebŏm, yet also add more frets and position them appropriately in a fashion which would help the instrument create the right tones that would be required by today's new musical needs.