琴譜소재 영산회상 中 타령系 악곡에 관한 연구

Abstract

This study aims to examine the musical relevance of the Taryeong series to Gunak(軍樂: military music) influenced by it, focusing the Taryeong series music in old Geomungo scores composed from the time of Yuyeji(『遊藝志』) to the 20th century. The music of the Taryeong series in Yuyeji(『遊藝志』), as the origin of Ujotaryeong(羽調打令), where the 7-fret(棵) Gyemyeonjo(界面調) was transferred to the 4-fret(棵) one, and was formed by playing the dominant tone, that is, the Pyeongjo(平調). It had a great influence on the Taryeong in all the old scores, the various playing methods and melodies of Gunak(軍樂), and even the tone and the title of music. The Taryeong appearing in most of the old scores, including Dongdaegeumbo(『東大琴譜』) is played in 7,4,7 frets. The Hetan song of the current Taryeong seems to be derived from Dongdaegeumbo(『東大琴譜』). In the Taryeong the 7,4,7 frets are predominant rather than the 7 frets in most of the old scores. Gunak influenced by the Taryeong, from Yuyeji(『遊藝志』) to Ohuisanggeumbo(『吳喜常琴譜』), the titles of Ujotaryeong and Gunak were used together or used as generic names. Also, in the case of Samjukgeumbo(『三竹琴譜』), there was a difference in technique and method in that the titles were marked differently as Taryeong and Gunak in Yeongsanhoesang(靈山會相), and Gyemyeontaryeong and Ujotaryeong(羽調打令) in Pyeongjoyeongsanhoisang (平調靈山會相). This point is different from the current military music of Yeongsanhoesang and Pyeongjohoesang played with the same score. The Taryeong was confused with the titles related to various musical instruments. The reason why the Taryeong is called Pyeongjotaryeong in Dongdaegeumbo(『東大琴譜』) is that the part played in 4 frets is inserted differently from the Taryeong of Yueyeji, the old score before Dongdaegeumbo(『東大琴譜』). It emphasized that it was titled ‘Pyeongjo’ differentiated from ‘Taryeong.’ In particular, the word 'Pyeongjo' at the top of the rhythm at the beginning of the 4 trigrams in Ohuisanggeumbo(『吳喜常琴譜』) can be said to support this point. On the other hand, in Samjukgeumbo(『三竹琴譜』), the Taryeong score of Samjukgeumbo(『三竹琴譜』)contains the 7, 4, 7 and 7 frets, which emphasizes playing with the 7 frets of the Gyemyeonjo. Therefore, the Pyeongjotaryeong of Dongdaegeumbo'(『東大琴譜』) and the Taryeongpyeongjo of Jukchwigeumbo(『竹醉琴譜』) can be said to be the titles of music that emphasize the tune of the Pyeongjo appearing in the Taryeong, not that of the Taryeong. Seeing that playing with the dominant tone in the Ujotaryeong part of Yuyeji'i(『遊藝志』) means playing with the Pyeongjo, so Gunak can be said to have been composed based on the Pyeongjo. After Ageumgobo(『峨琴古譜』) most of the titles of Ujotaryeong, the origin of Gunak, were marked as Gunak in the old scores.