음악 문헌을 통해 본 조선 초기 종묘악장의 변화 탐색

Abstract

Jongmyo Akjang(宗廟樂章) is literature and music that praises the ancestors of Joseon’s royal family. They believed that only when the Akjang was sung during the ritual, the ancestral deity came to the fore and gave blessings. Therefore, the Akjang was important in its symbolicity as a medium connecting the deity and human beings. In the beginning, independent Akjang was composed and sung for each of the chambers, and the form of the accompanying band also conformed to the old system. However, the individuality of the Akjang disappeared as King Sejo designated Jongmyo Jeryeak as Botaepyeong･Jeongdaeeop. This is because Botaepyeong･Jeongdaeeop to praise seven persons was used in Jongmyo rituals. In addition, singers were placed in both Deungga and Heonga, and a band of various musical instrument players was formed, thereby deepening the characteristics of the performance. Failing to adjust to the sudden change, the musicians created a divisive situation in which they played Hyangak in Jeongjeon and performed Aak in Yeongnyeongjeon. The confusion continued, and efforts to reorganize it continued until the end of King Seongjong. The detailed aspects mentioned above remain clear in Sejong Silok Akbo, Sejong Silok Oryeo, Sejo Silok Akbo, Gukjo oryeui, Gukjo orye seorye, and Akhak Gwebeom. Like this, Jongmyo Akjang in early Joseon formed a curve of ‘formation – transformation – confusion - maintenance’ but was eventually organized in the direction of inheriting the things in King Sejo’s reign. Nevertheless, the spark of controversy still remained because the original meaning of the Akjang had faded.