서명응의 종묘제례악 고찰

Abstract

The figure well-known as the mentor of King Jeongjo(正祖), Seo Myoung- ung(徐命膺, 1716-1787), played a crucial role in the national musical reform project during the late Joseon Dynasty. Particularly, he took charge of most musical works related to the reigns of King Yeongjo(英祖) and King Jeongjo. Seo Myoung-eung personally authored over 11 publications on music-related topics from 1752, spanning approximately 30 years. His major work, "Siakhwaseong(詩樂和聲)", contains the history and theory of music, intro- ducing new formats for ritual music. Ritual music can be broadly categorized into ceremonies for heaven, earth, and ancestors. Seo Myoung-eung was particularly concerned with the ritual music used during the ancestral rites at Jongmyo(宗廟). He wanted to change the traditional Ritual Music of Jongmyo Shrine. In order to create a new structure for ritual music related to heaven, earth, and ancestors, Seo Myoung-eung based his theoretical foundation on the concept of the harmony of heaven and earth. He interpreted the grip of the Great Bear(斗柄) and the orbit of the sun(日躔) as symbols of harmony, incorporating these theories into the fundamentals of music. He transformed the existing Jongmyo ritual music through thorough theoretical analysis, addressing aspects such as which pieces to perform in each step of the Jongmyo rituals, the placement of instruments for the performer, and the progression of musical mode. Seo Myoung-eung's innovative Jongmyo ritual music stands out as a unique contribution throughout the history of Joseon Dynasty's Jongmyo ritual music reform. It will enrich the discussions and significance of the existing Jongmyo ritual music.