『악학궤범』 <봉래의>의 초입배열도 구조 분석
A Structural Analysis on Correct Dancer Placement of Bonglaeeui Dance in Akhak Gwebeom
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
Dancer placement of Bonglaeeui for reproduction is interpreting in two ways based on two old books; Akhak Gwebeom(1493), Akhak Gwebeom Holgi(1705). This study aims to analyze reasonable placement of Bonglaeeui which is a royal court dance of Joseon Dynasty(1392-1897), in Akhak Gwebeom(musical canon), for correct reproduction. The research results are as follows: In Akhak Gwebeom, that position is characterized by asymmetrical structure in dancer arrangement of both sides; the first dancer of the left part is situated front and the first dancer of the right part is located behind. It differs from setting position featuring the symmetrical struc- ture based on universal compositional principle of royal court dance. The structure of setting position of Bonglaeeui would have bilateral symme- try, if based on the universal principle. The first dancer of left part and the first dancer of right part are placed front. It is same as the structure of Bonglaeeui in Akhak Gwebeom Holgi.
Abstract
Dancer placement of Bonglaeeui for reproduction is interpreting in two ways based on two old books; Akhak Gwebeom(1493), Akhak Gwebeom Holgi(1705). This study aims to analyze reasonable placement of Bonglaeeui which is a royal court dance of Joseon Dynasty(1392-1897), in Akhak Gwebeom(musical canon), for correct reproduction. The research results are as follows: In Akhak Gwebeom, that position is characterized by asymmetrical structure in dancer arrangement of both sides; the first dancer of the left part is situated front and the first dancer of the right part is located behind. It differs from setting position featuring the symmetrical struc- ture based on universal compositional principle of royal court dance. The structure of setting position of Bonglaeeui would have bilateral symme- try, if based on the universal principle. The first dancer of left part and the first dancer of right part are placed front. It is same as the structure of Bonglaeeui in Akhak Gwebeom Holgi.
참고문헌 (23)
- "樂學軌範 호사문고(蓬左文庫) 소장판", 국립국악원, ~ (2011)
- "樂學軌範笏記", 국립국악원, ~
- "呈才舞圖笏記 時用舞譜 全", 국립국악원, ~ (1980)
- 김천흥, "심소 김천흥 선생님의 우리춤 이야기" (2005), 민속원
- 성무경, "완역집성 정재무도홀기" (2005), 보고사
- 손선숙, "궁중정재용어사전" (2005), 민속원
- 손선숙, "한국궁중무용사" (2017), 보고사
- 이혜구, "신역 악학궤범" (2000), 국립국악원
- 이흥구, "조선궁중무용" (2000), 열화당
- 이흥구, "한국궁중무용총서7" (2009), 보고사
- 장사훈, "한국전통무용연구" (1977), 일지사
- 정은혜, "정재연구Ⅰ" (1993), 대광문화사
- 조규익, "세종대왕의 봉래의, 그 복원과 해석" (2015), 민속원
- 김수현, ""악학궤범(樂學軌範)"권1에 나타난 중국 음악 이론의 주체적 수용 양상에 대한 고찰-시용(時用)을 중심으로-", 유교사상문화연구, 47, pp.5~34 (2012)
- 김승우, "<용비어천가(龍飛御天歌)> 향유, 수용 양상의 특징과 그 의미-봉래의(鳳來儀)정재를 중심으로-", 韓國 詩歌硏究, 23, pp.81~113 (2007)
- 서인화, "19세기 掌樂院의 존재양상", 동양음악, 24, pp.71~90 (2002)
- 손선숙, "궁중정재 무원(舞員)구성의 변화양상", 한국무용사학, 5, pp.125~148 (2006)
- 손선숙, ""악학궤범"<봉래의> 여민락 무의 이동구조 탐색", 무용역사기록학, 23, pp.19~35 (2011)
- 손선숙, "세종 시대 <봉래의>의 무용구조 고찰", 대한무용학회논문집, 71(2), pp.93~108 (2013)
- 손선숙, "궁중정재의 고무보 해석을 위한 교육방법안", 한국문학과 예술, 33, pp.31~80 (2020)
- 송방송, "조선왕조 건국초기의 정재사 연구-세종조의 신악을 중심으로-", 음악과 민족, 23, pp.196~235 (2002)
- 조경아, "조선총독부 기록영상"조선무악"의 무용사적 가치와 한계", 무용역사기록학, 47, pp.99~119 (2017)
- "악학궤범홀기(樂學軌範笏記)" (2013)[URL]
