<열하일기>의 음악대담 「망양록」 연구

Abstract

This study is about “Mang-yang-lok,” a part of “Yeol-ha-il-gi” by Jiwon Park (1737-1805) that documented discourses on music. “Mang-yang-lok” is considered as the unique document regarding academic conversations on music between Joseon and China. The purpose of the study is to analyze the colloquy of music by topics and to clarify the significant implications. The main content of this article is divided into two different parts. One is about the historical background and the description of Jiwon Park and the two scholars. The other studies the musical discourse in detail by the issues. The word, ‘mang-yang’ means forgetting to eat steamed mutton. It was derived from the anecdote that Jiwon Park and two other scholars, Minho Wang and Gajeon Yun, whom he met as traveling Yeolha in 1780. They were so heavily concentrated in their discussion of ak-lyul (theoretical system of tones) that the steamed mutton got cold. Their profound knowledge about music and ak-lyul was enough to continue the long conversation that was particularly concerned with the two subjects. The discourse of music consists of three different topics. The first is the nature of music itself. In this part, they defined five notes (pentatonic) and six-lyul (theoretical system) and discussed the reasons of differences between eras and between aak and jeongseong. They also debated musical goodness and wickedness. The second is concerned with the tunes and instruments of Joseon and China. It describes the origin of yangeum in China and the string instruments of Joseon, especially geomungo and gayageum as well as the distinguished concepts of woojo between Joseon and China. The third is a discourse of go-ak and ak-gyeong. Their inquiry was initiated from the discussion that go-ak and ak-gyeong were preserved in China and Joseon respectively. From the study of “Mang-yang-lok” by Jiwon Park, a representative scholar in the second half of the Joseon era, we can learn about the Chinese scholars’ and Park’s concepts and theories of ak-lyul. It is fair to say that they were not music theorists. However, we can understand that they knew very well about the principles and applications of music through their discourses in “Mang-yang-lok.” There is no doubt that Jiwon Park was capable enough to be involved in the high-quality discussions because he already had a great insight regarding the arts and literature of Qing Dynasty.