『樂學軌範』권1에 나타난 중국 음악이론의 주체적 수용 양상에 대한 고찰 - ‘時用’을 중심으로 -

Abstract

This dissertation aims to explore how the Musical Theory by the Akhak Kwebŏm Vol. 1 which is discussing the musical principles and theories accepts the Chinese Musical Theory independently related to the concept of Siyong (時用). Siyong (時用) is the term used throughout the Akhak kwebŏm literally can be interpreted simply as 'used at the time (ie, Seongjong era)', but the term can be interpreted more specifically 'using in South Korea' and this term itself contains the notion that independent acceptance. The independent acceptance of the Chinese Musical Theory by the Akhak Kwebŏm Vol. 1 is as follows. Firstly, both the sixty tones and the variation theories accept YulRyeoShinSeo's theory quite actively. However, the new sixty tones can also be done by applying the pentatonic scale in South Korea. Secondly, based on a detailed description about the problem that Sang(商聲) and Gak(角聲) cannot exceed Gung(宮聲) and the problem related to using only an octave higher of four tone so that proposes the twelve yul(12律) an octave higher of four tone. Thirdly, both Hwangjong and 12 standard pitch pipe's the measurement of length and girth and Sambunsonik(三分損益) theory rely on YulRyeoShinSeo, but these proposed the practical ways such as creating actual standard pitch pipe. Fourthly, the case in which Spirit-welcoming mode not only conveys the precise meaning of Sprit-welcoming mode’s name interpreted by an existing Chinese literature but also shows that it used Gung mode of Siyong Aak(時用雅樂), can be a good example. As pointed out earlier, this dissertation shows that the chinese musical theory as seen in the Akhak Kwebŏm Vol. 1 is interpreted and accepted independently in the Korean concept of Siyong(時用).