발해악 新考

Abstract

This treatise examines Japanese documents to see the diffusion and aspects of Parhae music in Japan and Chinese literary sources and archeological evidences to prove that Parhae music influenced the music of three ancient Chinese dynasties of Sung, Liao, and Chin and that Parhaegŭm (a string instrument of Parhae), which could be a representative instrument of Parhae music, had influenced Chinese music since the era of T'ang and made a big contribution to dance and music by female entertainers (kyobangak 敎坊樂) of Sung, Liao, and Chin. This work upon Parhae music brings about the following understanding. First, the record in Soku Nihongi 『續日本紀』 (Supplemental Chronicles of Japan) that home music was played in front of the Emperor of Japan for envoys from Parhae including Kijinmong in the year of 740 should be read to mean that Kijinmong and his fellows played their home music, that is, Parhae music. Second, it can be inferred that Parhae music was imported directly from Parhae from the record of Soku Nihongi (Supplemental Chronicles of Japan) that a Japanese envoy to Parhae named Naeung learned its music and returned to Japan in 763. It can be thought as well that musicians and music officials of Parhae were dispatched to Japan, about which there is no records left, according to the fact that those of Koguryŏ music could learn Parhae music. Third, it is found out that Parhae music continued to be succeeded as Koguryŏ music classified as music of right office even after the fall of Parhae. At least three musical pieces, Kotoriso 古鳥蘇, Shintoriso 新鳥蘇, and Shinmaka 新靺鞨, appear in Jinchi yoroku 『仁智要錄』 (Important Record of Jinchi) edited in the 12th century by Huziwara Nomoronaga 藤原師長. The analysis of the actual musical notations of these pieces attests to the figures of Parhae music. Yeh Tung 葉棟, a Chinese scholar, and Chin Chien-min 金建民 identifies them as the music of Koma-ichikotsucho 高麗壹越調 , in other words the music of shang mode 商調. Fourth, it is suggested that Parhaegŭm has some relation with the origin of samhyŏn 三絃 (san-hsien in Chinese), i.e. three-stringed lute of today. To support this phrases from an essay entitled "Samhyŏn and Parhaegŭm" by Ho Ch'ang-lin 何昌林 are quoted. It can be also told that Parhaegŭm was accepted to be a major Parhae instrument by Parhae kyobang 渤海敎坊 (female entertainers of Parhae) of Sung and Chin. Fifth, it is proved that Parhae accommodated wholly Koguryŏ music as it was by the fact that a peach tree-bark oboe 桃皮觱篥 used only in the orchestra of Koguryŏ 高麗伎 at T'ang court, appeared in the marching band music of Liao and Chin. Sixth, it can be thought that Parhae adopted T'ang's system of music institute from the fact that T‘aesangsi 太常寺, the Royal Music Institute of Parhae, was also T'ang's system. It becomes apparent to see that the musicians’ costumes in the wall painting of the tomb of Princess Chŏnghyo 貞孝公主 are very similar to those of T'ang's, which has not been mentioned in this thesis. Seventh, there is a preliminary discussion about the reason Parhae music was not allowed in Southern Sung. It could be easily understood if it were viewed in respect of the relationship between Southern Sung and Chin, but there should be more detailed discussions in the future. Eighth, though Parhaegŭm has not been valued fairly because of the lack of records it can be inferred to have had some relation with shamisen 三味線 of Japan as well as with san-hsien 三絃 of China, so that it can be assumed that Parhae music had much influence upon that of China and Japan by mentioning only Parhaegŭm.