조선 후기 능행의 용악 연구 －영조ㆍ정조ㆍ순조대를 중심으로－ = The Use of Music for Neunghaeng in the Late Joseon Dynasty －Focusing on the Reigns of Yeongjo, Jeongjo, and Sunjo－

다국어 초록 (Multilingual Abstract)

This study investigates musical practices and norms during late Joseon royal tomb processions (Neunghaeng, 陵幸) from King Yeongjo to King Sunjo, based on records like Seungjeongwon Ilgi, Gukjosogoryeui and Chungwan Tonggo.
First, the Naechwi (內吹, Court Wind and Percussion Band) emerged as the core ensemble, responsible for signaling (Hyeongmyeong, 形名) and performing Chwita (吹打), often collaborating with military bands. Second, King Jeongjo introduced the Gyeomnaechwi (兼內吹) system to expand the ensemble’s scale, enhancing the dignity of the Eojeon Chwita (御前吹打). Visual evidence in the Geumui Sanneung Dongga Banchajido confirms the Naechwi’s expanded presence around the royal carriage. Third, during King Sunjo’s reign, spatial norms restricted Chwita performances to the area between the capital walls and the tomb entrance, reflecting Confucian restraint.
Ultimately, Neunghaeng music functioned as a ceremonial medium, harmonizing royal military authority with Confucian order through strictly regulated spatial and functional applications.