현행 한국 당악의 악조와 그 특징에 관한 연구

정화순 한국국악학회 2015 한국음악연구 Vol.58 No.-

본 연구에서는 한국의 당악이 중국 전래의 속악인 점을 고려하여 그 연원처로서 중국 속악의 2종 악조인 “연악조”와 “청악조”를 개괄한 뒤, 중국 전래 속악 가운데 현행하는 ≪보허자≫와 ≪낙양춘≫이 각각 “연악조”와 “청악조”에 속하는 서로 다른 악조의 악곡임을 밝혔다. 나아가 우리나라에서 창작된 악곡 가운데 “황종의 음고가 ‘c’인 점”, “당피리가 중심이 되는 점” 등 당악적 조건을 갖춘 ≪여민락만≫․≪여민락령≫․≪해령≫․≪정동방곡≫․≪유황곡≫ 등의 악곡들 역시 한국의 “당악”으로 간주하고 그 악곡들의 악조에 대하여 살펴보았다. 아울러 종묘제례의 진찬악인 ≪풍안지악≫과 그 축소곡인 ≪경모궁제례악≫의 ≪혁우곡≫ 등도 정대업․보태평과는 다른 음계구조를 지닌 악곡이라는 점에서 본 연구 대상에 포함하였다. 그 결과, 한국의 당악에는 중국의 2종 속악조의 전통을 지닌 “연악조”의 악곡들(≪정동방곡≫과 ≪여민락만≫)과 “청악조”의 악곡들(종묘제례의 진찬악 ≪풍안지악≫과 ≪경모궁제례악≫의 ≪혁우곡≫)이 포함되어 있지만, 그밖에 향악의 평조와 동일 구조를 지닌 “5음음계”의 악곡(≪여민락령≫과 ≪유황곡≫)과, 평조와 계면조가 조합된 “7음음계”의 악곡(≪해령≫)도 포함되어 있다는 점에서 중국 속악과 다른 면이 있음을 알게 되었다. 뿐만 아니라 “청악 7음음계”는 온전한 구조의 정통성을 유지하고 있는데 반하여, “연악 7음음계”는 제3음인 “姑”가 생략됨으로써 “6음음계”화되어 나타난다는 점 역시 한국 당악조의 특징으로 꼽을 수 있다. 문헌상, 한국 당악의 악조가 2종으로 구분되어 나타나는 사례는 악학궤범당비파의 조현법에 명시된 “상조”와 “하조”에서 발견된다. 2종 조현법의 4개 현에 명시된 음으로 미루어 “상조”는 “연악조”에 해당하고, “하조”는 “청악조”에 해당함을 확인할 수 있다. 이러한 사실은 중국 속악의 “연악조”와 “청악조”가 매우 이른 시기부터 한국의 당악에서 운용되어왔음을 말해준다. This study, considering that Dangak came from China's Sokak (lit. vulgar music), examined such two Chinese tune origins, Yeonakjo and Cheongakjo, and revealed that, of China's extant Sokak tunes, the extant Boheoja and Nakyangchun belong to Yeonakjo and Cheongakjo, respectively, making them different from each other. Furthermore, of Korea's created tunes, tunes - which are equipped with Dangak conditions such as Hwangjong's pitch being c and Dang piri (fiddle) being the center - including, Yeominnakman, Yeominnaknyeong, Haeryeong, Jeongdongbanggok, and Yuhwanggok, were regarded as Korea'sn Dangak, and their tones were examined. Also, Jongmyojeryeak's ritual wine-offering music Punganjiak and the tune's reduced tune Gyeongmogungjeryeak's Hyeokugok were also examined in this study, considering that these have a different scale structure from Daeeop and Botaepyeong. As a result, it was found that Korea's Dangak encompasses not only China's two Sokakjo tradition of Yeonakjo(Jeongdongbanggok and Yeominnakman) and Cheongakjo tunes(Jongmyojeryeak's ritual wine-offering music Punganjiak and Gyeongmogungjeryeak's Hyeokugok), but also the 5-tone scale tunes with the same Hyangak Pyeongjo structure(Yeominnaknyeong and Yuhwanggok) and the Pyeongjo and Gyemyeonjo combined 7-tone scale tunes(Haeryeong), making them different from China's Sokak. Also, while the Cheongak 7-tone scale maintains the whole structure tradition, the Yeonak 7-tone scale drops the third tone Go, making it a six-tone scale, and characterizing Korea's Dangakjo. According to historical records, Korea's Dangakjo is classified into two kinds, whose examples are found in Sangjo and Hajo specified in the Dangbipa tuning method of Akhakgwebeom. Given the tones specified for the four strings in the two tuning methods, Sangjo is considered Yeonakjo, and Hajo considered Cheongakjo. This fact suggests that China's Sokak Yeonakjo and Cheongakjo were applied to Korea's Dangak from very earlier times.

율여와 음양이론

정화순 동양철학연구회 2001 東洋哲學硏究 Vol.26 No.-

律呂理論은 陰陽理論을 핵심으로 하는데, 아는 陰陽之道, 즉 天道를 핵심으로 하는 객관세계의 원리에 의뢰하여 律呂理論의 근거를 마련하려는 태도에서 비롯된 결과이다. 본고는 律呂理論 가운데 기원고사?명칭?산출이론 등의 방면에 관한 연구로서, 특히 한대 이후 그 산출 법에서 대두된 ‘上五下六’과 ‘上六下五’의 두 논리에 비중을 두었다. 12律은 기원고사나 산출 법에서도 음양원리가 적용되었음은 물론, 각각의 명칭에 있어서도 12월에 견주어 1년 四詩의 운행으로 풀이하여 왔다. 소위 ‘上五下六’이란 12율을 생산함에 黃鐘을 기준하여 上生 5회, 下生 6회 하는 경우이고, ‘上六下五’란 上生 6회, 下生 5회 하는 경우이다. 이는 陰陽 相生原理에 의한 12율의 산출방법에서 上生과 下生에 대한 해석의 차이에서 비롯한다. 통상 陽生陰을 下生이라 하고, 陰生陽을 上生이라 하는데, 이는 上生?下生을 年中陰陽의 氣運에 구분없이 일관되게 해석한 경우이다. 다른 하나는, 1년을 陰陽二氣로 兩分하여 陽氣가 성한 시기와 陰氣가 성한 시기에 다라 上生과 下生 역시 달라져야 한다는 것이다. 前者는 西漢의 可馬遷?京房?東漢의 班固 등을 대표로 하고, 後者는 戰國시기 呂不韋?東漢의 鄭玄?北宋의 陳祥道 등을 대표로 한다. 위 두 가지 견해는 南宋 蔡元定에 이르러 병합?절충되어, 上生?下生에 대한 통상 개념은 고정화 되었지만, 陰이 아래에서 始生하는 5월의 律

洞簫에 관한 硏究

鄭花順 국립국악원 1992 국악원논문집 Vol.4 No.-

한국음악의 악조에 대한 일고찰

정화순 한국음악사학회 2004 韓國音樂史學報 Vol.33 No.-

『高麗史·樂志』所載 雅樂에 대한 검토

정화순 청주대학교 예술문화연구소 2000 淸藝論叢 Vol.17 No.-

조선 세종대 신제(新制) 조회아악(朝會雅樂)의 활용실태

정화순 청주대학교 학술연구소 2005 淸大學術論集 Vol.5 No.-

The reign of King Sejong (1418-1450) has a profound meaning in the history of traditional Korean music in that it opened a new era of Korean court music, aak, by creating two kinds of aak, Johoeaak (aak for morning gathering) and Jesaaak (a-ak for ritual). Studies in a-ak in the Choseon period have focused mainly on Jesaaak, while making a passing mention that Johoeaak was created in that period without any further elaboration on how it was used. This study examines in what ways Johoeaak had been used in that period. The two kinds of aak were completed in late 1430. Of the two, Johoeaak was intended to be performed at royal inauguration ceremonies and various reception ceremonies for envoys with royal letters from China (e.g., jo 詔, go 誥, chik 勅, and seo 書). Consisting of 312 pieces, it was used in Hajeongnye in January 1430 for the first time. However, it is not clear exactly what pieces among the 312 were performed. Since January 1432, the use of Johoeaak, after two year's deliberation, expanded further not only to the morning gathering but to Hoerye right after the morning gathering. Hoeryeuiju was completed in 1432 after a two-year period of preparation since a draft in 1431 and a revision in September 1431. During Hoerye, aak was performed during the first half of the ritual and sokak for the second half, which reflects the King Sejong's determination that "hyangak should not be abolished for the sake of aak." The "Meaning of Hoeryeyon" in the treatise on Korean music, Akhakgyebeom, is identical with the petition filed by the Sangjeongso (a bureau temporarily installed to decide various matters on rituals) in September 1432. Johoeaak began to be used also as Yangnoyeonak since August 1432. Music for Yangnoyeonak was based on the music for Hoeryeak, but as Yangnoyeon is less elaborate than Hoeryeyeon, the number of musical pieces performed at the Yangnoyeon is smaller than that at the Hoeryeyeon. Similar to Hoeryeyeon, Yangnoyeon also employs aak for the first half of the banquet and dangak and hyangak for the second half. Yangnoyeonak is also recorded in Akhakgyebeom. Since late 1431, a distinction was drawn between Johoeaak used in rituals related to China and that related to Korea. For instance, in rituals related to China such as Manggyeollye, Yeongjochik, and Seongjeolharye, the king presided the events by lowering himself as the emperor's subject. Accordingly, music used for the rituals and banquets in related to China was Hwangjonggung and that in related to Korea Goseongung. The major reason to draw such a clear distinction between the two lay in the dictum that a king and a king's subject should be clearly distinguished. A musical solution to distinguish the two was the use of a different tone center for each.

初期『井間譜』의 易學的 解釋을 위한 試圖

정화순 한중철학회 1995 한중철학 Vol.1 No.-

율려律呂와 한국 음악

정화순 예문동양사상연구원 2001 오늘의 동양사상 Vol.- No.4

『高麗史ㆍ樂志』所載 雅樂과 宋樂의 비교 검토

정화순 한국국악학회 2000 한국음악연구 Vol.28 No.-

『樂學軌範』 소재 玄琴 調絃法의 현대적 활용 가능성

정화순 한국국악학회 2004 한국음악연구 Vol.35 No.-

The history of Korean music is a history of mixing with foreign musics Koreanized through the process of assimilation. It appears that no mutually heterogeneous musics have been so intimately mixed in Korea as these days. No two heterogeneous musics can be really mixed with each other without the power of harmony contained in their inherent attributes. This study is made in the expectation that modem Koreans' soul-searching will be able to find a clue in the past history of music. Theoretically, the musics that our ancestors enjoyed have similarities to western musics in terms of the structure. The musics of the Goryeo Dynasty handed down to the Joseon Dynasty included many pieces of Chinese musics composed of 7-note scales. These were used as basic materials in making new types of musics in early Joseon Dynasty. The musical tones appearing in musical scores for three wind instruments in Samguksagi published in 1145 also include the names of popular musics of China. These show that the use of 7-note scales in Korea dates back long ago. The Geomungo(Korean six-string zither) section of Akhakgwebeom shows various methods of tuning the musical instrument, such as Nakshijo, Ujo, Choejajo, Takmokjo and Cheongpungche. It appears that the techniques of tuning in the past had a wider variety than those used these days that are chiefly composed of two, i.e. jeongak and sanjo. As such, it is guessed that the nation's past history of music contains various structural factors (such as notes and methods of tuning) that can be used to develop the diversity. Thus, it will be a worthwhile attempt to explore such factors to use them for creation of modem-day Geomungo musics.