『시용향악보』 무가계 악곡의 발생 배경 추론 -<나례가>, <성황반>, <내당>을 중심으로-

Abstract

The three songs of Naryega, Seonghwangban, and Naedang, known as shamanic music included in the Singyonghyangakbo, have been analyzed differently due to difficulties in interpreting lyric songs. This study decoded the lyrics of these three songs through comparison with narye ritual at the time based on the fact that the Singyonghyangakbo was compiled between November 18 (1505) and March 17 (1506). First of all, the difficulty of interpreting the situation in which naryeong gongtaek, clowns, and ghosts are combined in the same text was due to the situation of the day when four complex narye rituals were held at the same day before and after the guna ritual. Unlike the existing Seonghwangban, which was presumed to have absorbed the strange music of Seonghwangdang, it was sung in the court describing the year-end guna ritual. In particular, singing the four gates shamanic gods is related to the construction of the four gates of the castle in the guna ceremony, and then singing the golden eyes heavenly king is related to bangsangsi, who was serving covered with the mask of golden four eyes. Naedang was interpreted as a female song with obscene meanings in that a song related to Buddhist service or male slaves appeared. However, this song also suggested the possibility that it was actually related to guna ritual among narye's four rituals. This is because the jinja, who played the role of a traitor in Chinese guna ritual, have traditionally been selected from slaves, and if they followed the tradition of guna ritual on the Korean Peninsula, it is presumed to mean the male slaves of guna ritual. As a result, the three songs are related to four kinds of narye ceremonies at year end, and although the title may be misunderstood as a shamanic songs, it was revealed that the music was created at the time because it depicted the year-end events in the court. However, although all three songs have newly created lyrics, the problem of determining the musical genre of the created song is another problem, and the judgment of whether the musical style of these songs is a shamanic type, lyric poetry or a folk song is reserved.