井間譜 解析에 있어서 俗樂源譜의 問題點 考察

Abstract

Chŏngganbo 井間譜 or the Korean mensural notation shows the duration of the tones. Through the analysis of the music recorded in Sogakwŏnbo ꡔ俗樂源譜ꡕ I have found many problems that make it hard to interpret the duration of the mensural notation. Especially Sogak wŏnbo shows a big change of duration in which we can not find any regular rules or principles. Several pieces of music made based on same songs of Royal Ancestral Shrine music show different change of duration. However, in the fifth volume, all the pieces become one-tone-one-beat music. Some scholars call this change ‘Sinization of Korean music,’ and they insist that the change began in the 18th century. They suggested that the change resulted from the disappearance of Korean traditional instruments such as kayagŭm and kŏmun'go from the instrumentation. It is, however, during the period of Japanese occupation when those instruments disappeared from the instrumentation of Royal Ancestral Shrine music. kayagŭm and kŏmun'go were used for the other court music. The durational change without any principles resulted in the loss of changdan 長短 (rhythmic patterns) that is the most important factor in Korean traditional music. All the extant court music of one-tone-one- beat do not have any regular rhythmic patterns. The change of chŏngganbo can only be seen in Sogak wŏnbo. All the chŏngganbo in other music books published in the Chosŏn dynasty show the same shape, notated throughout in columns of 16 squares (chŏnggan 井間) with thick horizontal lines (taegang 大綱) demarcating six square-groups per column, in the sequence 3-2-3-3-2-3 squares.