보태평·정대업의 장단 분석- 『세종실록악보』에서 현행까지 -

Abstract

This study analyzes the rhythmic structures of Pot'aep'yŏng 保太平 and Chŏngdaeŏp 定大業 as notated in the Sejong Annals (Sejong sillok 『世宗實錄』), the Sejo Annals (Sejo sillok 『世祖實錄』), Taeak hubo 『大樂後譜』, Sogak wŏnbo 『俗樂源譜』 chapter 1 (仁篇), and current notation of Chongmyo cheryeak 宗廟祭禮樂, Korean Royal ancestral shrine music. It especially focuses on the rhythmic patterns of hourglass drum (changgu), clapper(pak), and gongs (large and small) as well as the relation of pak strokes to lyrics. A close examination reveals the following：1) In Pot'aep'yŏng and Chŏngdaeŏp pieces of the Sejong sillok, seven rhythmic patterns for the changgu and six for the pak are used. These patterns offer different rhythmic regularities to each piece. 2) In the revised Pot'aep'yŏng and Chŏngdaeŏp of the Sejo sillok, the same changgu and pak patterns appear. Gong patterns begin to be used in the revised music of the Sejo Annals, providing a new kind of rhythmic regularity. Most pieces of the Taeak hubo inherit such patterns. 3) Most pieces in chapter 1 of Sogak wŏnbo keep the original changgu and pak patterns as well as earlier relation of pak strokes to lyrics. However, in some Pot'aepyŏng pieces, traditional changgu and pak patterns become irregular and the earlier relation of pak strokes to lyrics also changes. Relating these changes to the changgu patterns, one may see that the Pot'aep'yŏng pieces including those changes are based on either the third or the seventh changgu pattern. On the other hand, the Pot'aep'yŏng pieces that do not show change in changgu and pak patterns have either the first or the second changgu pattern. In addition, the original relation of pak strokes to lyrics is kept in the latter pieces. 4) The music of the present Chongmyo cheryeak seems to have been evolved in the same direction as shown in the pieces of Sogak wŏnbo's chapter 1. Although the past rhythmic regularities in the changgu, pak, and gong parts do not appear in the current Chongmyo cheryeak, the original grouping of words by pak strokes is still kept in some pieces. With the exception of Sunŭng, which included the sixth changgu pattern, we find that the pieces with the first or the second changgu pattern have not changed.