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The historical transition of tangak (Chinese-derived music) during the late Chos?n period has not yet been studied from a socio-musicological standpoint in order to understand the historical transmission of tangak pieces after the Hideyoshi (1592) and Manchu (1636) invasions. The aim of this study is therefore to find out the historical transmission of tangak pieces after the two foreign invasions.
This study is based upon Chos?n wangjo sillok 『朝鮮王朝實錄』(Annals of the Chos?n Dynasty), Akhak kweb?m 『樂學軌範』(Guide to the Study of Music) (1493), and such official documents of court banquet as Chiny?n ?igwe 『進宴儀軌』(1719, 1744, and 1901), Ch?ngni ?igwe『整理儀軌』(1795), Chinch'an ?igwe 『進饌儀軌』(1829 and 1848), Chinjak ?igwe『進儀爵軌』(1828), and Ch?ngjae mudo holgi『呈才無圖笏記』(1893 and 1901). The study includes such topics as 1) Introduction, 2) Survey of Tangak Pieces in the Early Chos?n Period, 3) Historical Aspect of Tangak Pieces in the Eighteenth Century, 4) Historical Aspect of Tangak Pieces in the Nineteenth Century, 5) Conclusion.
In light of an extensive investigation, the following statements are mentioned in conclusion. After the Hideyoshi and Manchu invasions the most tangak pieces including "K?mj?nak" 金殿樂 (Music of Chin Hall), "?kch'wiso" 憶吹簫 (Panpipe of Playing Reminiscence), "S?jago" 瑞??(Auspicious Partridge), and so on were not transmitted, but several tangak pieces were handed down by court musicians of Changagw?n 掌樂院 (Royal Music Institute) in the eighteenth century.
In the court banquets of the ch'ilchak haengnye 七爵行禮 (seven wine offering rite) and the kujak haengnye 九爵行禮 (nine wine offering rite) during the reign of King Sukchong (r. 1673-1720) and King Y?ngjo (r. 1724-1776) seven tangak pieces were performed, such as "Nagyangch'un" 洛陽春 (Spring in Lo-yang), "Poh?ja ry?ng 步虛子令" (Ry?ng of Pacing the Void), "Oun kaes?jo" 五雲開瑞朝 (Auspicious Morning Opening with Five Clouds), "Ch?nny?n manse" 千年萬歲 (Long Life for a Thousand Years), "Ch'ongp'y?ngak" 淸平樂 (Music of Perfect Peace), "T'aepy'?ngny?n man" 太平年慢 (Man of Peaceful Year), and "Haunbong" 夏雲峰 (Peak of Summer Cloud). The seven tangak pieces were handed down at the court banquets during the reign of King Ch?ngjo (r. 1776-1800).
From the reign of King Sunjo (r. 1800-1834) onward, however, "Nagyangch'un," "Poh?ja ry?ng," "Oun kaes?jo," and "Ch'?ngp'y?ngak" were performed at court banquets, and "Nagyangch'un" and "Poh?ja ry?ng" were the only two tangak pieces to be performed at court banquets during the late nineteenth century. Since then "Nagyangch'un" (Lo-vane-ch'un in Chinese) and "Poh?ja" (Pu-hsu-tz?) have been performed at Kungnip Kugagw?n 國立國樂院 (National Center for Korean Traditional Performing Arts).
Since 1828 (the 28th year of King Sunjo) the two tangak pieces ("Nagyangch'un" and "Poh?ja ry?ng") were characterized by the appearance of various elegant titles for the two pieces. Kangnak chigok 康樂之曲 (Piece of Vigour Happy), Manses?ng chigok 萬歲聲之曲 (Piece for Reputation of Ten-thousand Years), Manse t'aep'y?ng chigok 萬世太平之曲 (Piece for Perfect Peace of Eternity), T'aep'y?ngch'un chigok 太平春之曲 (Piece of Spring for Perfect Peace), and so on are several examples of the elegant titles for "Nagyangch'un," whereas several examples of the elegant titles for Poh?ja ry?ng" are Ky?ngt'aep'y?ng chigok 慶太平之曲 (Piece of Congratulating Perfect Peace), Manny?n mugang chigok 萬年無疆之曲 (Piece of Longevity for Ten-thousand Years), Sangun chigok 祥雲之曲 (Piece of Happy Cloud), Oun s?nhak 五雲仙鶴 (Fairy Crane of Five Clouds), Ch'?nmy?ng yud?k chigok 天命有德之曲 (Piece of Virtue for Heavenly Decree), and others.
The appearance of various elegant titles (15 kinds of "Nagyangch'un" and 56 kinds of "Poh?ja ry?ng") should be understand by the following historical fact. Many new court dances including hyangak ch?ngjae 鄕樂呈才 (hyangak court dance) and tangak ch?ngjae 唐樂呈才 (tangak court dance) were created during the reign of King Sunjo (r. 1800-1834). The newly created court dances could not be thought of without considering their accompanying music. At that time, however, there were no composer who could compose accompanying music for the newly created court dances, so that the authority had to use the existing "Nagyangch'un" and "Poh?ja ry?ng" as their accompanying music by creating various elegant titles of "Nagyangch'un" and "Poh?ja ry?ng," which were the only two tangak pieces during the late nineteenth century.
This study is based upon Chos?n wangjo sillok 『朝鮮王朝實錄』(Annals of the Chos?n Dynasty), Akhak kweb?m 『樂學軌範』(Guide to the Study of Music) (1493), and such official documents of court banquet as Chiny?n ?igwe 『進宴儀軌』(1719, 1744, and 1901), Ch?ngni ?igwe『整理儀軌』(1795), Chinch'an ?igwe 『進饌儀軌』(1829 and 1848), Chinjak ?igwe『進儀爵軌』(1828), and Ch?ngjae mudo holgi『呈才無圖笏記』(1893 and 1901). The study includes such topics as 1) Introduction, 2) Survey of Tangak Pieces in the Early Chos?n Period, 3) Historical Aspect of Tangak Pieces in the Eighteenth Century, 4) Historical Aspect of Tangak Pieces in the Nineteenth Century, 5) Conclusion.
In light of an extensive investigation, the following statements are mentioned in conclusion. After the Hideyoshi and Manchu invasions the most tangak pieces including "K?mj?nak" 金殿樂 (Music of Chin Hall), "?kch'wiso" 憶吹簫 (Panpipe of Playing Reminiscence), "S?jago" 瑞??(Auspicious Partridge), and so on were not transmitted, but several tangak pieces were handed down by court musicians of Changagw?n 掌樂院 (Royal Music Institute) in the eighteenth century.
In the court banquets of the ch'ilchak haengnye 七爵行禮 (seven wine offering rite) and the kujak haengnye 九爵行禮 (nine wine offering rite) during the reign of King Sukchong (r. 1673-1720) and King Y?ngjo (r. 1724-1776) seven tangak pieces were performed, such as "Nagyangch'un" 洛陽春 (Spring in Lo-yang), "Poh?ja ry?ng 步虛子令" (Ry?ng of Pacing the Void), "Oun kaes?jo" 五雲開瑞朝 (Auspicious Morning Opening with Five Clouds), "Ch?nny?n manse" 千年萬歲 (Long Life for a Thousand Years), "Ch'ongp'y?ngak" 淸平樂 (Music of Perfect Peace), "T'aepy'?ngny?n man" 太平年慢 (Man of Peaceful Year), and "Haunbong" 夏雲峰 (Peak of Summer Cloud). The seven tangak pieces were handed down at the court banquets during the reign of King Ch?ngjo (r. 1776-1800).
From the reign of King Sunjo (r. 1800-1834) onward, however, "Nagyangch'un," "Poh?ja ry?ng," "Oun kaes?jo," and "Ch'?ngp'y?ngak" were performed at court banquets, and "Nagyangch'un" and "Poh?ja ry?ng" were the only two tangak pieces to be performed at court banquets during the late nineteenth century. Since then "Nagyangch'un" (Lo-vane-ch'un in Chinese) and "Poh?ja" (Pu-hsu-tz?) have been performed at Kungnip Kugagw?n 國立國樂院 (National Center for Korean Traditional Performing Arts).
Since 1828 (the 28th year of King Sunjo) the two tangak pieces ("Nagyangch'un" and "Poh?ja ry?ng") were characterized by the appearance of various elegant titles for the two pieces. Kangnak chigok 康樂之曲 (Piece of Vigour Happy), Manses?ng chigok 萬歲聲之曲 (Piece for Reputation of Ten-thousand Years), Manse t'aep'y?ng chigok 萬世太平之曲 (Piece for Perfect Peace of Eternity), T'aep'y?ngch'un chigok 太平春之曲 (Piece of Spring for Perfect Peace), and so on are several examples of the elegant titles for "Nagyangch'un," whereas several examples of the elegant titles for Poh?ja ry?ng" are Ky?ngt'aep'y?ng chigok 慶太平之曲 (Piece of Congratulating Perfect Peace), Manny?n mugang chigok 萬年無疆之曲 (Piece of Longevity for Ten-thousand Years), Sangun chigok 祥雲之曲 (Piece of Happy Cloud), Oun s?nhak 五雲仙鶴 (Fairy Crane of Five Clouds), Ch'?nmy?ng yud?k chigok 天命有德之曲 (Piece of Virtue for Heavenly Decree), and others.
The appearance of various elegant titles (15 kinds of "Nagyangch'un" and 56 kinds of "Poh?ja ry?ng") should be understand by the following historical fact. Many new court dances including hyangak ch?ngjae 鄕樂呈才 (hyangak court dance) and tangak ch?ngjae 唐樂呈才 (tangak court dance) were created during the reign of King Sunjo (r. 1800-1834). The newly created court dances could not be thought of without considering their accompanying music. At that time, however, there were no composer who could compose accompanying music for the newly created court dances, so that the authority had to use the existing "Nagyangch'un" and "Poh?ja ry?ng" as their accompanying music by creating various elegant titles of "Nagyangch'un" and "Poh?ja ry?ng," which were the only two tangak pieces during the late nineteenth century.
목차
1. 머리말: 연구배경과 연구목적
2. 조선전기에 연주된 당악곡 개관
3. 18세기 당악곡의 전승양상
4. 19세기 당악곡의 전승양상
5. 맺음말: 조선후기 당악곡의 전승 양상
〈영문초록〉
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