『律呂新書』의 60調와 6變律 연구

Abstract

A Study of Ts'ai Yan-ting's Sixty Tonal Systems and Six Plagal Tones Ts'ai Yüan-ting's 蔡元定 Lü-lü hsin-shu 「律呂新書」 (A New Treatise on the System of Pitches) serves as a good material for study. In Korea, two scholars have conducted researches on his sixty tonal systems and six plagal tones introduced in Akhak kwebŏm. The scholars are in agreement as to how the tonal systems came to take on different names in the two books, but have contrasting views on the plagal tones. In China, several scholars have looked into Ts'ai's theories, particularly that of eighteen tones. Most important of the 18 tones are the six plagal tones, upon which Ts'ai himself elaborated in the section on plagal tones in Lü-lü hsin-shu. This explanation is firmly founded upon his sixty tonal systems, but most of the studies make serious errors by approaching the plagal tones without any reference to the sixty tonal systems. A Korean translation of Lü-lü hsin-shu has recently been published in Korea, but section five on plagal tones does little justice to the original. This is because the translator did not comprehend Ts'ai's theories, which led me to decide to pen an elaborate article on the subject. I shall first look at the studies that have been carried out in Korea and China. I shall then correct the errors in the Korean translation of the plagal tones of Lü-lü hsin-shu, and round it out. In light of the sixty tonal systems I shall examine why Ts'ai made use of only six plagal tones, and this process will help rectify the flaws in the existing studies. The reason why Ts'ai used only six plagal tones is because he needed only the six to form the sixty tonal systems. Ts'ai did not use hwangjong 黃鍾 octave higher, because it's not necessary for the tonal systems.