스웨덴의 근로시간 단축 지원제도

송지원 한국노동연구원 2020 국제노동브리프 Vol.18 No.7

정조대 의례 정비와 ..春官通考.. 편찬

송지원 서울대학교 규장각한국학연구원 2011 규장각 Vol.38 No.-

Reading Chungwantonggo 春官通考 complied in the era of King Jeongjo of the Joseon dynasty helps understand characteristics of key ceremonies of the royal family of Joseon dynasty and historical context at once, since various royal ceremonies written in Chungwantonggo give the entire picture of key ceremonies of the royal family throughout the Joseon dynasty as well as during the rule of King Jeongjo. Ceremonies written in Chungwantonggo as Geumui 今儀 are divided into three categories; those which were performed during this rule for the first time, those which were put in place since Gukjosogolaeui 國朝續五禮儀 of the King Yeongjo era, and those which had been performed from the early Joseon era without Euiju 儀註 and for which King Jeongjo laid foundation of Euiju. This relates to the fact that King Jeongjo tended to make records of an important occasion or event whenever it happened. King Jeongjo formalized and recorded most of Joseon’s royal occasions. For example, he ordered the recording of all the ceremonies which used not to be written before, so Chungwantonggo shows how those royal ceremonies were written in a national ceremonial book in detail. Although some see his attitude like this from a perspective of the Joseon-centrism 朝鮮中華主義, we can say it hints at his pressure and hitters to take full control of the country at the same, because it seems that he wanted to record all the details of the administration relative to the royal ceremonies by making records of all the ceremonies (events and occasions). In short, Chungwantonggo is clearly seen as literature proving how Joseon deserves the assessment as ‘a recording power.’ Unfortunately, the work was complied and not published, but it contains various contents, and the way it was written well describes all the details of the royal ceremonies synchronically and diachronically, which is very significant in that the literature in the era of King Jeongjo is more advanced than any era.

[스웨덴] 스웨덴 기업의 사회적 책임(CSR) 동향

송지원 한국노동연구원 2016 국제노동브리프 Vol.14 No.8

조선시대의 농사와 양잠을 위한 국가전례와 음악

송지원 한국국악학회 2009 한국음악연구 Vol.45 No.-

조선시대의 농사와 양잠은 백성들에게 먹거리와 입을거리를 공급하기 위해 소중한 일이었다. 조선의 왕실은 이와 관련된 국가전례를 제정하여 국가가 구심점을 이루는 농사와 양잠의 의미를 환기시켰다. 삼국시대와 고려조에 이어 조선조에도 지속된 선농제와 선잠제는 조선 후기가 되면서 보다 큰 틀로 의례가 확대되고 재정비된다. 그 결과 선농과 선잠, 친경과 친잠의에 이어 관예의, 관예후로주의, 장종의, 헌종의, 수견의 등으로 그 의례가 확대된다. 선농의와 선잠의에서는 아악선율로 이루어진 음악을 사용했지만 친경의에서는 여민락, 역성과 같은 속악을 연주하였다. 또 영조대에 만들어진 관예의에서도 여민락을 연주하도록 함으로써 임금과 민(民)이 함께하는 축제의 장이라는 국가전례 의미의 외연을 넓혔다. 영조는 자신이 직접 의례에 참여하는 친행(親行)을 극대화하고 백성이 그와 ‘더불어 함께’ 한다는 의미를 심화시키고자 하였다. 왕이 직접 밭을 갈고, 왕비가 직접 뽕잎을 따는 친경의와 친잠의의 의주를 독립시켜 제정한 것도 그러한 맥락에서 이루어진 것이다. 또 관예 후에 이들이 다 함께 어우러질 수 있는 노주의를 베푼 것은 왕과 ‘민’이 함께 하는 장을 확대하고자 했던 영조의 의지에 의한 것이었다. 여기에 이어 정조는 관예의의 악장을 더 확대시켜 의례 대부분의 절차에서 각각 독립된 악장을 연주할 수 있도록 하였다. ‘농사짓는 일’이 온 백성이 함께 하는 중요한 국가의례이며 ‘축제의 장’의 의미를 지니는 행사였다는 의미이다. Providing eating and wearing to people, agriculture and sericulture business was a primary policy in Joseon Dynasty. Throughout the establishment of the national ritual for agriculture and sericulture, royal family in Joeon Dynasty represented the meaningful national policy of it. Seonnongje 先農祭 and Seonjamje 先蠶祭, which has been performed through the periods of Samkuk(the Three States), Goryeo, and Joseon Dynasty, were reorganized and enlarged the ceremonies especially in late Joseon Dynasty. As a consequence of it, the national rituals had been enlarged:Seonnong and Seonjam, Chingyeongui 親耕儀 and Chaijamui 親蠶儀, Gwanyeui 觀刈儀, Gwanyehunojuui 觀刈後勞酒儀, Jangjongui 藏種儀, Heonjongui 獻種儀, Sugyeonui 收繭儀 and so on. For Seonnongui and Seonjamui, the court musicians played the melody of Aak 雅樂, but they play the music of Sogak 俗樂 such as Yeomillak 與民樂 and Yeokseong 繹成. For gwanyeui which organized by king of Youngjo, the court musicians played Yeomillak for Chingyeongui 親耕儀. It denoted that the national ritual was not only a court ceremony but also a national festival for Royal family and people. King of Youngjo aimed to maximize chinhaeng 親行, and presented the meaning that the king was really be with his people. In consequence of it, the scene of uiju was separated from Chingyeongui and Chaijamui which shows that the king follows the plow, and the quin picks mulberry leaves. Actually the king of Youngjo gave the banquet, Nojuui 勞酒儀 which all ‘people’ get together including the king himself. And also the king of Jeongjo expanded the Akjang 樂章 of Gwanyeui to a independent music. It tells that ‘farming’ was not only a primary national ritual but also a ‘festival’ by people.

<<세종실록악보>> <봉래의>의 음악적 구현

송지원 진단학회 2020 진단학보 Vol.- No.135

This thesis is a study on the Musical Realization of Sejongsillog-agbo 世宗實錄樂譜[Sejong Annals Musical Score] Bonglaeui鳳來儀. Bongnaeui is Yongbieocheonga龍飛御天歌 written by King Sejong as his first work after the creation of Hunminjeongeum訓民正音. ‘Bongraeeui' is the first piece of ‘Yongbieocheonga'龍飛御天歌 written by Sejong since the creation of Hunminjeongeum, Through the 3 songs of Yeominrak與民樂, Chihwapyeong致和平, and Chuipunghyeong醉豊亨, a melody for part or all of the song was created and it was a comprehensive art of music, song and dance;( it is a work that is musically embodied in a form.) ‘Yongbieocheonga' was produced as a performance work in which music, song, and dance were fused from the beginning of its production, and it was confirmed that it was due to King Sejong's enormous plan to make a full-length narrative of 125 chapters into a large-scale music piece. Therefore, one can wonder about the process and contents of how the concept was implemented musically. However, since ‘Sejongsillog-agbo' is a record mainly on sheet music, it does not specifically record the musical implementation methods of music such as Yeominrak, Chihwapyeong, and Chuipunghyeong. This has the limitation that the actual fact cannot be known unless we look at how the implementation of the musical work was accomplished from a different perspective. Therefore, in this paper, the author looked at how the implementation of it is made musically by paying attention to the work called ‘Bongraeeui', which is a musical implementation of ‘Yongbieocheonga', which was planned as a massive performance. 이 논문은 『세종실록악보』에 수록된 <봉래의>의 음악 구현 방식에 대해 살펴본 글이다. <봉래의>는 세종이 훈민정음을 창제한 이후 그 첫 작품으로 쓴 <용비어천가>를 여민락, 취화평, 취풍형이라는 세 악곡을 통해 그 일부, 혹은 전체 노래에 대한 선율을 만들고 이를 악 가 무 종합예술형태로 음악적으로 구현한 작품이다. <용비어천가>는 제작 초기부터 그것을 악, 가, 무가 융합된 공연 작품으로 의도하여 제작한 작품으로서, 전체 125장이라는 장편 서사를 대규모 악곡으로 풀어내고자 하는 세종의 방대한 구상에 의한 것임이 확인되었다. 따라서 그 구상이 어떠한 방식에 의해 음악적으로 구현이 되었는지 그 과정과 내용이 궁금해진다. 그러나 『세종실록악보』는 악보 위주의 기록이므로 여민락, 치화평, 취풍형과 같은 음악의 음악적 구현 방식에 대해서는 구체적으로 기록하지는 않고 있다. 이는 그 음악 작품의 구현이 어떻게 이루어졌는지에 대해 다른 방식으로 살피지 않으면 그 실상을 알 수 없다는 한계를 지닌다. 따라서 본고에서는 방대한 공연물로 기획된 <용비어천가>의 음악적 구현인 <봉래의>라는 작품에 주목하여 그것을 어떻게 음악적으로 구현하고자 했는지 살펴보았다.

18세기 조선 음악지식 集成의 방식 - 『東國文獻備考』 「樂考」를 중심으로 -

송지원 서울대학교 규장각한국학연구원 2012 한국문화 Vol.57 No.-

As a book composed of a series of books that was compiled within a short period of nine months, <<Dongguk Munheon Bigo 東國文獻備考>> is a book that provides an overall summary of rules, decorum and music, and cultural systems of Korea in 1770 (46th year of King Yeongjo) upon the order of King Yeongjo. This is a product focusing on the restructuring of systems and culture at the national level in consideration of a compilation of nationwide knowledge by King Yeongjo. Concerning 「Akgo 樂考」 to be reviewed by this paper, it involves 13 volumes, which is not a small portion among the total of 100 volumes of the <<Dongguk Munheon Bigo>>, and it is the third largest in number of volumes following 「Yeojigo」 and 「Yego 禮考」. This is represented both by 「Akgo」 and 「 Yego」 out of the<<Dongguk Munheon Bigo>>, which implies that it is very important. <<Dongguk Munheon Bigo>>, which was first completed during the period of King Yeongjo, was modified and complemented throughout later periods of King Jeongjo, King Sunjo, and King Gojong. Thus, it was ultimately completed by the publishing of the <<Jeungbo Munheon Bigo 增補文獻備考>>, which is nearly equivalent to 50 books of 250 volumes, in 1908 (Yungheui 2). As such, there was consistent modification and addition and complementation during every important period from the 18th century, and it is meaningful as a book that is poised in a crucial position that has been referred to whenever there was any national issue. 「Akgo」 in the <<Dongguk Munheon Bigo>> is meaningful as a previous case books that reveals the compilation method of knowledge about music, which was led by the government during a period in which the most reasonable compilation method for keeping knowledge was being seriously considered throughout studies in 18th century Joseon society. Accordingly, the meaning and contents of compilation and compilation method of 「Akgo」 in the <<Dongguk Munheon Bigo>> are a very important guide in terms of academic history, and it is meaningful as a book that discloses the compilation method of knowledge. Regarding the characteristics of 「Akgo」, it compiled comprehensively knowledge about 18th century Joseon music by intensively collecting the most key discussions in the field of music during the times up to the period of King Yeongjo. Also, it shows the depth of thinking about the classification method for reasonable compilation. In addition, in recognition of the nature of the book, it was organized in a different way from that of existing music books. In classifying the fields included by 「Akgo」, again in the area of music studies, they may be classified into music theory, music history, musical instrument studies, orchestration, musical words, dance and costumes, musicians, traditional music and foreign music, and words and music. All of these fields have led to the research area of contemporary Korean musicology, which informs that research into Korean music studies has been continuous because all of the major fields of music studies were proposed already in the 18th century. As a book composed of a series of books that was compiled within a short period of nine months, <<Dongguk Munheon Bigo 東國文獻備考>> is a book that provides an overall summary of rules, decorum and music, and cultural systems of Korea in 1770 (46th year of King Yeongjo) upon the order of King Yeongjo. This is a product focusing on the restructuring of systems and culture at the national level in consideration of a compilation of nationwide knowledge by King Yeongjo. Concerning 「Akgo 樂考」 to be reviewed by this paper, it involves 13 volumes, which is not a small portion among the total of 100 volumes of the <<Dongguk Munheon Bigo>>, and it is the third largest in number of volumes following 「Yeojigo」 and 「Yego 禮考」. This is represented both by 「Akgo」 and 「 Yego」 out of the<<Dongguk Munheon Bigo>>, which implies that it is very important. <<Dongguk Munheon Bigo>>, which was first completed during the period of King Yeongjo, was modified and complemented throughout later periods of King Jeongjo, King Sunjo, and King Gojong. Thus, it was ultimately completed by the publishing of the <<Jeungbo Munheon Bigo 增補文獻備考>>, which is nearly equivalent to 50 books of 250 volumes, in 1908 (Yungheui 2). As such, there was consistent modification and addition and complementation during every important period from the 18th century, and it is meaningful as a book that is poised in a crucial position that has been referred to whenever there was any national issue. 「Akgo」 in the <<Dongguk Munheon Bigo>> is meaningful as a previous case books that reveals the compilation method of knowledge about music, which was led by the government during a period in which the most reasonable compilation method for keeping knowledge was being seriously considered throughout studies in 18th century Joseon society. Accordingly, the meaning and contents of compilation and compilation method of 「Akgo」 in the <<Dongguk Munheon Bigo>> are a very important guide in terms of academic history, and it is meaningful as a book that discloses the compilation method of knowledge. Regarding the characteristics of 「Akgo」, it compiled comprehensively knowledge about 18th century Joseon music by intensively collecting the most key discussions in the field of music during the times up to the period of King Yeongjo. Also, it shows the depth of thinking about the classification method for reasonable compilation. In addition, in recognition of the nature of the book, it was organized in a different way from that of existing music books. In classifying the fields included by 「Akgo」, again in the area of music studies, they may be classified into music theory, music history, musical instrument studies, orchestration, musical words, dance and costumes, musicians, traditional music and foreign music, and words and music. All of these fields have led to the research area of contemporary Korean musicology, which informs that research into Korean music studies has been continuous because all of the major fields of music studies were proposed already in the 18th century.

궁중악기 조사과정의 기록, 역주 사직악기조성청의궤

송지원 국립국악원 2009 국악원논문집 Vol.19 No.-

조선후기 문인음악의 소통과 향유

송지원 한국음악사학회 2012 한국음악사학보 Vol.48 No.-

문인음악이란 문인 지식층들에 의해 연주되고 향유되는 음악을 말한다. 조선후기 문인 지식층은 시(詩), 서(書), 화(畵)와 함께 악(樂)을 교양으로 익혔다. 이들이 소통하고 향유했던 음악의 성격은 전문 음악가들의 그것과는 달랐다. 국가에 소속된 음악인들은 각종 의례에 수반되는 음악을 연주했고, 민간에서 활동하는 전문 음악인들은 민간의 각종 음악 수요에 부응하여 직업인으로서의 음악 활동을 펼쳤다. 이에 반해 문인 지식층은 동호인들을 중심으로 하여 자유로운 음악 활동을 전개하였다. 이들의 음악 활동은 직업 음악가들에 비해 소규모로 이루어졌다. 이들이 연주한 음악은 몇몇 쟝르에 국한되었다. 그러나 이들의 음악 활동은 하나의 ‘문화 운동’으로 조선 후기 음악 사회에 큰 반향을 일으켜 조선후기의 새로운 음악 문화를 창출하는 데 기여하였다. 이는 조선후기 문인 지식층들이 음악에 대해 열린 태도를 지니고 있기 때문이었다. 음악이란 ‘즐기는 것’이 아니라 ‘닦는 것(정신 수양을 위한 것)’이라는 고정된 도식에서 나아가 음악이란 ‘나누기 위한 것’이라는 지평을 확보했기에 가능한 것이다. 이들의 열린 태도는 문인 지식층들의 대표적 음악인 ‘영산회상’과 같은 거문고 중심의 줄풍류 음악에서 특징적으로 드러난다. 현재까지 이어져 연주되고 있는 영산회상은 더 이상 진화하지 않고 고정되어 ‘닫힌 구조의 음악’이 되었지만 조선 후기의 영산회상은 ‘열린’, ‘유기체와 같은’ 음악이었다. 그 음악을 연주하는 사람, 상황과 공간, 시간에 따라 조금씩 음악이 달라질 수도 있었다. 이와 같은 ‘열려 있음’은 문인 지식층들이 향유했던 음악을 ‘소통’을 위한 것으로 인식했음을 드러낸다. ‘소통을 위한 음악’이란 음악을 보다 자율적 시선으로 바라볼 수 있게 한다. ‘특정한 의식에 부속된 음악’, ‘일정한 기능을 위한 음악’이란 규범에서 벗어나 ‘호흡을 함께 하며 나누는 음악’으로의 전환은 음악의 향유 방식이 이미 달라져 있음을 알려준다. 혼자 정신을 수양하기 위한 음악에서 나아가 여럿이 어울려 나누며 연주하는 음악 문화가 정착되어가는 과정이 드러난다. 본 논문에서는 조선후기 문인 지식층들의 음악 소통 양상을 통해 줄풍류 음악이 사회적이고 문화적인 맥락에서 이루어졌음을 확인하였다. 이와 함께 조선 후기 문인들을 둘러싼 음악 사회의 면면을 살피고 그 문화적 특징에 대해 조명함으로써 조선후기 음악 사회에서 음악 소통의 주요 수단으로 존재한 줄풍류 음악의 발전에 있어서 문인 지식층들의 역할과 의미에 대해 생각해 보았다. Literati's music is defined as music played and participated by the class of literary intellectuals. During the latter part of Chosŏn dynasty, these men were well trained in music as well as poetry, calligraphy, and drawing. The nature of music they enjoyed was unlike that of professional musicians. Those affiliated with the royal court were trained with music used for various rituals and ceremonies while professional artisans who circulated among commoners answered to the needs of ordinary people in their everyday lives and events. However, literary intellectuals moved around amateur circles creating their own free world for entertaining music. What they did, in contrast to professional musicians, occurred in a smaller scale and was limited to a few musical genres. Nevertheless, as a kind of 'cultural movement,' their activity can be viewed as another attempt at creating new music for the latter part of Chosŏn dynasty. by rendering a lasting effect in society as a whole. One of the reasons for this could be attributed to the attitude of intellectuals at the time. Not only did they view music as tool for improving their minds, rather than for entertainment, but also an important means for 'sharing.' This characteristically appears in music such as Yŏngsan hŏesang 靈山會相, one of the representative string ensemble musics for the intellectuals, centering upon the kŏmun'go 거문고. What we have of Yŏngsan hŏesang today is something fixed and closed to development in terms of musical form. However Yŏngsan hŏesang during the late Chosŏn period was 'open-ended,' like an 'organic body.' This means its features could be altered according to many factors such as performer, surroundings, place, and time of performance. Such an 'open' nature denotes that music had been understood among the intellectuals who participated in its creation as a means for communication. Music 'designed for communication' requires us to look at it with a more liberal mind. A shift from 'ceremonial music' or 'functional music' to 'music for communication and breathing the same air' implies that the method of music participation has undergone a significant change. It reveals the process from music for improving individuals to a musical culture which allowed socialization and communication among its members. This paper has shown that, through acts of musical communication among scholars of late Chosŏn dynasty, creation of string music (chulp'ungnyu) occurred within a specific social and cultural context. Moreover, by focusing on its social environment and cultural features, the role and meaning of literary intellectuals in the development of chulp'ungnyu music as an important means of musical communication has been discussed.

『임하필기』를 통해 본 이유원의 음악인식

송지원 진단학회 2017 진단학보 Vol.- No.128

Imhapilgi, one of the most iconic works of handwritten literature of the 19th century, contains encyclopedic knowledge of musical issues, including the history of music, song, musical instruments and their construction, musical policy, musicians, musical books, rituals and music, and musical theory. On one hand, this is a collection of Lee Yu-won’s musical knowledge, but on the other hand it demonstrates the level of Lee Yu-won’s understanding of music. It contains a list of fragmentary pieces of music-related knowledge but also features in-depth discussions related to music while revealing an important understanding of issues and problems not seen in other relevant literatures. This type of handwritten literature that contains such a vast amount of knowledge and information is rare, and there is a need to shed new light on its value from the perspective of musical history. Accordingly, this article conducted a comprehensive range of analysis on music-related issues in Imhapilgi, discussed Lee Yu-won’s viewpoints and perspectives on music, and then examined his musical understanding through several themes worthy of critical discussion. Next, the paper focused on Haedong-Akbu, a collection of poems. Haedong-Akbu is noteworthy in that it is "musical history sung with poetry." In this vein, I examined the overall content of “Haedong-Akbu" and discussed this content by period based on important poems. I also took a look at Yumin (流民), a female musician during the Ming Dynasty period and one of the musical figures noted by Lee Yu-won. 『임하필기』는 19세기의 대표적 필기(筆記)류 저술로서 백과사전적 지식을 담고 있다. 그 가운데에는 음악과 관련된 내용이 상당수 포함되어 있는데, 음악학이론 분야는 물론 음악사, 노래, 악기, 궁중음악, 음악제도, 악보, 음악인, 악서, 악기제작, 의례와 음악 등에 이르는 내용이다. 이러한 내용은 평소 이유원이 알고 있는 음악 지식을 모은 것이기도 하지만 한편으로는 이유원의 음악인식의 수위를 알려주고 있다. 음악의 단편적 지식을 나열한 것도 있지만 음악과 관련한 심도 있는 논의가 전개된 것도 있으며 여타 문헌에 보이지 않는 중요한 문제의식을 드러기도 한다. 이처럼 방대한 정보를 담고 있는 필기류 저술은 드물어서 음악사적인 관점에서 그 가치가 재조명되어야 할 것으로 보인다. 먼저 『임하필기』에 포함되어 있는 음악 관련 내용에 대해 전반적으로 분석하여 이유원의 음악에 대한 관점과 시선에 대해 논한 후 그 가운데 중요한 논의가 가능한 몇 가지 주제를 가지고 그의 음악인식을 살펴보았다. 다음으로 樂府詩 「해동악부」를 주목하였다. 「해동악부」는 ‘시로 노래한 음악사’라는 의미를 지니므로 주목할 필요가 있다. 이에 「해동악부」의 전체적인 내용을 살피고 중요한 시를 중심으로 시기별로 논의해 보았다. 또 그가 주목한 음악인물 가운데 명나라 유민 여성 음악인에 대하여도 조망해 보았다.

조선시대 장악원의 악인과 음악교육 연구

송지원 한국국악학회 2008 한국음악연구 Vol.43 No.-

장악원(掌樂院)은 조선시대 궁중음악을 총괄한 기관이다. 왕실에서 행해지는 각종 의례의 악, 가, 무를 담당한 악공과 악생, 무동(舞童), 가동(歌童), 여악(女樂), 관현맹인 등이 장악원에 소속되어 있었다. 왕실의 ‘일 년’ 행사를 펼쳐 본다면 이들 음악인의 연주횟수, 연습일정 등은 치밀하게 운영되지 않으면 안 되었다. 음악교육이 일정한 규모로 일정한 내용을 가지고, 특정한 틀을 갖춘 채 이루어지지 않는다면 조선왕실의 여러 의례에 수반되는 음악을 감당해내기 어려울 것이기 때문이다. 본 연구는 그러한 문제의식에서 시작되었다.현전하는 각종 문헌에는 장악원의 음악교육내용만을 전적으로 다룬 것은 없다. 대부분 여러 문헌에 산재하여 산발적으로 드러날 뿐이다. 따라서 관련 문헌에 있는 내용들을 종합 분석하여 장악원의 음악교육에 관련된 내용을 재구성해 보는 연구방법이 최선이다. 장악원의 음악교육 내용은 무엇이고, 습악(習樂)과정은 어떠했는지, 장악원의 음악을 담당한 악인과 음악교육을 담당한 스승들은 누구인지 정리해 봄으로써 조선시대 장악원의 음악교육내용을 파악해 보고자 한다. Jangagwon(掌樂院 Board of Music) was the organization of managing court music in Joseon period. The offcial muscians such as akgong 樂工 and aksaeng 樂生, mudong(舞童 child dancing on the shoulders of an adult performer), gadong(歌童 child singing a song), yeoak(女樂 female musician), a blind playing wind and string instruments belonged to Jangagwon. It seems that the performance frequency and training schedule were closely administered according to the plan of annual court events. If the music education had not been done in a systemic way, the music performance in court ceremonies could not have been completed. There are no existing written materials which fully focused on the music education in Jangagwon. Therefore, it will be the best to reconstruct the contents of music education in Jangagwon by analyzing the related materials. This paper tries to clarify the aspects of music education in Jangagwon, such as concrete contents of education, the process of music training, musicians who performed music in Jangagwon, and masters who taught music.