세종의 악보 제작과 그 의미: 기보를 통한 예악 보편주의의의 실현과 조선 敎化의 규범화

Abstract

According to the preface of the score in King Sejong Annals, he devoted himself to achieve Ye-Ak in order to realize the Do(道) of a saint. Do could be said to the way to reach to the Confucian ideal country. So King Sejong he published the scores to show how he carried out the task. In this paper, I tried to describe why King Sejong publishing the scores for comparing the notation system of the Sejong's with China's and even creating the unprecedented notation system, Jeongganbo. Analyzing Sejong's music score, I tried to find out what is the meaning of Joseon's Ye-Ak in the East Asia at 15th century. The first two scores of the Sejong’s Annals contains the Go-ak(asian ancient classical music 古樂) called Aak, and the rest nine volumes comtemporary Josoen music of the King Sejong’s reign called Sin-ak新樂 or Sok-ak俗樂. In this paper, to describe what Sejong wanted to do through scores, I saw the differences between the recording method and the purpose of notation. King Sejong was the first monarch to control and institutionalize the entire process of realizing Ye-Ak. He could be able to proclaim that Joseon was a civilized country. Then it could not be avoided to reveal the hierarchical structure between Joseon and China through Ye-Ak in the 15th century East Asian world. Sejong also had to accept the asymmetrical relationship in the process of practicing Ye-Ak. However, the system was overthrown in producing musical scores. King Sejong reinterpreted the music originating from China as universal music of civilized nation by rewriting in Joseon style with Aakbo(雅악譜) and created new system called Jeongganbo(井間譜), which is not available in China, to record Joseon music overwhelmingly. The score expresses a specific meaning in the process of creating an arbitrary sign and operating it systematically. Therefore, it can be said that Sejong showed a resistance or alternative to the contradictory hierarchy inherent in the Ye-Ak system from China. Because Jeongganbo was not only suitable for recording Joseon music with complicated rhythm but was invented as the most sophisticated music recording system at the time. However, King Sejong tried to actively utilize the differential order system inherent in the theory of Yeak in domestically. The music Sejong actively wanted to record in Jeongganbo was those that justified the royal family’s achievements and legitimacy regarding the foundation and reign. As Jeongganbo could be possible to record large-scale orchestras, it could show the authority of the royal family and monarchs. Therefore, it can be said that Jeongganbo was made so that this relationship could be institutionalized by recording the differences. Jeongganbo expresses exact pitch, duration, phrasing, writing lyrics etc. In this way, it can be said that Jeongganbo was created to show and teach(敎化) the differential order in Ye-Ak system. In this respect, it is understood that Sejong’s Jeongganbo lies in the center of the Ye-Ak that Sejong dreamed of, not in the marginalized line.