향가의 三句六名과 十二大綱譜의 관계- 균여 향가를 중심으로 -

Abstract

This study reconstructs a part of ancient Korean music history, particularly Kunyŏ's 均如 native song (hyangga 鄕歌) from the Koryŏ 高麗 period, with the aim of understanding the origins of today's Korean music. This paper briefly introduces the background in hyangga, followed by a discussion on earlier scholarly studies of Samgu yukmyŏng 三句六名 from three main aspects; as 1) a musical form 2) a musical term concerning form or content and 3) a type of poetry. Based on analysis of the music and square notations of hyangga, this study investigates into issues of instrumentation, musical modes, and the size of hyangga repertoire. Most of hyangga music was performed as vocal solo, accompanied by the indigenous samhyŏn samjuk 三絃三竹 ensemble. Hyangga was widely enjoyed among Silla people, especially the Hwarang boys. Its music then transmitted to Koryŏ and early Chosŏn dynasties, as described in the music monograph of History of Koryŏ (Koryŏsa 『高麗史』). A comparison between two early rhythmic notations (chŏngganbo 井間譜) from the reign of King Sejong and Samgu yukmyŏng shows that each line in the early chŏngganbo system, which consists of 32 squares, is made up of 12 taegang 大綱(sections). In order to explore the relationship between Samgu yukmyŏng and 12 taegang sections, present study analyzes five pieces of Koryŏ song notated in the Score of Current Hyangak called Siyong hyangakpo 『時用鄕樂譜』 in terms of their musical structure. Result shows that the third phrase in a 10-phrase hyangga consists of 24 sections, with one phrase having 6 myŏng, while the first and the second phrase have 12 myŏng, or 48 sections, each. This is the governing principle for most Koryŏ song and present study indicates that such trait can be traced back to ancient hyangga structure. Therefore present research suggests that hyangga might be the very origin of Korean traditional music. However, such hypothesis needs to be confirmed by more studies in the future.