고려(高麗) 당악(唐樂)의 상조(商調) 연원(淵源) 검토(檢討)-유영(柳永)의 송사(宋詞)를 중심(中心)으로

Abstract

This study examined the types and contents of musical contents, such as ak-cho(樂調, musical scales and modes), that appeared in his poems, focusing on his poems during the Northern Song Dynasty. The life of Yu Yǒng(柳永. Liu Yong r.990~1050 A.D.) is representative of the literary style of the late Tang Dynasty and the early Song Dynasty, and research on it has been conducted for a long time in the academic areas. As much as it is included, its research value is considerable. However, since the existing research results were focused more on studies from a literary point of view, studies on the musical contents and characteristics of Yu Yǒng’s works, called sa(詞. ci), are relatively poor. Therefore, in order to broaden the understanding of the musical culture of China and Koryǒ society, the researcher reviewed the musical contents that appeared in Yu Yǒng's works in Chǒnsongsa(全宋詞. Quan Song Ci, ch. Beijing: Zhonghua Publishing House, 1965) by Tang Kyu-jang(唐圭璋). Yu Yǒng is a person who led the creative activities in a new literature trend called sa(ch. ci) during the Northern Song Dynasty, and it can be assumed that the aspects of culture and art at the time, which can be seen through his works, were reflected in Koryǒ society that maintained exchanges with Song. In fact, through Ch'a Chu-hwan(車柱環)'s research(1977), it was revealed that some of Yu Yǒng's works were also included in Koryǒ-sa(高麗史) Akchi(樂誌), and therefore, the musical contents of Yu Yǒng's sa(ci ch.) works are helpful in understanding tangak as court music in the Koryǒ Dynasty. Therefore, In this paper, first, we tried to understand the musical contents of tangak in the Koryǒ Dynasty by examining the contents of the musical tone shown in Yu Yǒng's sa(ci) of Chǒnsongsa. This review was divided into two parts, and It proceeded by explaining the types and contents and reviewing the contents of Yu Yǒng sa's musical tone recorded in Koryǒ-sa Akchi. As a result, it was confirmed that Yu Yǒng had a personal preference for a specific musical tone used in his works. However, through his works included in Koryǒ-sa Akchi, it was revealed that this aspect of his creative activities was no longer reflected. Overall, however, the review of the musical tones used in Yu Yǒng's sa(ci) complied in Chǒnsongsa was an attempt to examine folk music in the Northern Song Dynasty and Dangak in the Koryǒ Dynasty from various angles, and in this respect, the significance of this study can be found.