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      세종의 악보 제작과 그 의미: 기보를 통한 예악 보편주의의의 실현과 조선 敎化의 규범화 = Publication of the Musical Scores in King Sejong’s Annals and its Meaning: Achievement of Ye-Ak禮樂 Universalism in Asia on 15th Century and Normative Legalization of Joseon Gyowha敎化 with the Musical Notation

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      다국어 초록 (Multilingual Abstract)

      According to the preface of the score in King Sejong Annals, he devoted himself to achieve Ye-Ak in order to realize the Do(道) of a saint. Do could be said to the way to reach to the Confucian ideal country. So King Sejong he published the scores to show how he carried out the task. In this paper, I tried to describe why King Sejong publishing the scores for comparing the notation system of the Sejong's with China's and even creating the unprecedented notation system, Jeongganbo. Analyzing Sejong's music score, I tried to find out what is the meaning of Joseon's Ye-Ak in the East Asia at 15th century.
      The first two scores of the Sejong’s Annals contains the Go-ak(asian ancient classical music 古樂) called Aak, and the rest nine volumes comtemporary Josoen music of the King Sejong’s reign called Sin-ak新樂 or Sok-ak俗樂. In this paper, to describe what Sejong wanted to do through scores, I saw the differences between the recording method and the purpose of notation. King Sejong was the first monarch to control and institutionalize the entire process of realizing Ye-Ak. He could be able to proclaim that Joseon was a civilized country. Then it could not be avoided to reveal the hierarchical structure between Joseon and China through Ye-Ak in the 15th century East Asian world. Sejong also had to accept the asymmetrical relationship in the process of practicing Ye-Ak. However, the system was overthrown in producing musical scores.
      King Sejong reinterpreted the music originating from China as universal music of civilized nation by rewriting in Joseon style with Aakbo(雅악譜) and created new system called Jeongganbo(井間譜), which is not available in China, to record Joseon music overwhelmingly. The score expresses a specific meaning in the process of creating an arbitrary sign and operating it systematically. Therefore, it can be said that Sejong showed a resistance or alternative to the contradictory hierarchy inherent in the Ye-Ak system from China. Because Jeongganbo was not only suitable for recording Joseon music with complicated rhythm but was invented as the most sophisticated music recording system at the time.
      However, King Sejong tried to actively utilize the differential order system inherent in the theory of Yeak in domestically. The music Sejong actively wanted to record in Jeongganbo was those that justified the royal family’s achievements and legitimacy regarding the foundation and reign.
      As Jeongganbo could be possible to record large-scale orchestras, it could show the authority of the royal family and monarchs. Therefore, it can be said that Jeongganbo was made so that this relationship could be institutionalized by recording the differences. Jeongganbo expresses exact pitch, duration, phrasing, writing lyrics etc. In this way, it can be said that Jeongganbo was created to show and teach(敎化) the differential order in Ye-Ak system. In this respect, it is understood that Sejong’s Jeongganbo lies in the center of the Ye-Ak that Sejong dreamed of, not in the marginalized line.
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      According to the preface of the score in King Sejong Annals, he devoted himself to achieve Ye-Ak in order to realize the Do(道) of a saint. Do could be said to the way to reach to the Confucian ideal country. So King Sejong he published the scores to...

      According to the preface of the score in King Sejong Annals, he devoted himself to achieve Ye-Ak in order to realize the Do(道) of a saint. Do could be said to the way to reach to the Confucian ideal country. So King Sejong he published the scores to show how he carried out the task. In this paper, I tried to describe why King Sejong publishing the scores for comparing the notation system of the Sejong's with China's and even creating the unprecedented notation system, Jeongganbo. Analyzing Sejong's music score, I tried to find out what is the meaning of Joseon's Ye-Ak in the East Asia at 15th century.
      The first two scores of the Sejong’s Annals contains the Go-ak(asian ancient classical music 古樂) called Aak, and the rest nine volumes comtemporary Josoen music of the King Sejong’s reign called Sin-ak新樂 or Sok-ak俗樂. In this paper, to describe what Sejong wanted to do through scores, I saw the differences between the recording method and the purpose of notation. King Sejong was the first monarch to control and institutionalize the entire process of realizing Ye-Ak. He could be able to proclaim that Joseon was a civilized country. Then it could not be avoided to reveal the hierarchical structure between Joseon and China through Ye-Ak in the 15th century East Asian world. Sejong also had to accept the asymmetrical relationship in the process of practicing Ye-Ak. However, the system was overthrown in producing musical scores.
      King Sejong reinterpreted the music originating from China as universal music of civilized nation by rewriting in Joseon style with Aakbo(雅악譜) and created new system called Jeongganbo(井間譜), which is not available in China, to record Joseon music overwhelmingly. The score expresses a specific meaning in the process of creating an arbitrary sign and operating it systematically. Therefore, it can be said that Sejong showed a resistance or alternative to the contradictory hierarchy inherent in the Ye-Ak system from China. Because Jeongganbo was not only suitable for recording Joseon music with complicated rhythm but was invented as the most sophisticated music recording system at the time.
      However, King Sejong tried to actively utilize the differential order system inherent in the theory of Yeak in domestically. The music Sejong actively wanted to record in Jeongganbo was those that justified the royal family’s achievements and legitimacy regarding the foundation and reign.
      As Jeongganbo could be possible to record large-scale orchestras, it could show the authority of the royal family and monarchs. Therefore, it can be said that Jeongganbo was made so that this relationship could be institutionalized by recording the differences. Jeongganbo expresses exact pitch, duration, phrasing, writing lyrics etc. In this way, it can be said that Jeongganbo was created to show and teach(敎化) the differential order in Ye-Ak system. In this respect, it is understood that Sejong’s Jeongganbo lies in the center of the Ye-Ak that Sejong dreamed of, not in the marginalized line.

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      참고문헌 (Reference)

      1 "禮記"

      2 "論語"

      3 이혜구, "한국음악연구" 국민음악연구회 1957

      4 송혜진, "한국아악사 연구" 민속원 2000

      5 이혜구, "한국사" 국사편찬위원회 50-59,

      6 "태종실록"

      7 이혜구, "중국 예악사상이 한국음악에 미친 영향" 2 : 101-, 1968

      8 박종배, "조선시대 문묘 향사 위차의 특징과 그 교육적 시사 -명 · 청 시기 중국과의 비교를 중심으로-" 한국교육사학회 34 (34): 1-21, 2012

      9 정화순, "조선 세종대 조회아악 연구" 민속원 2006

      10 송혜진, "조선 궁중음악의 유교적 특징" 2015

      1 "禮記"

      2 "論語"

      3 이혜구, "한국음악연구" 국민음악연구회 1957

      4 송혜진, "한국아악사 연구" 민속원 2000

      5 이혜구, "한국사" 국사편찬위원회 50-59,

      6 "태종실록"

      7 이혜구, "중국 예악사상이 한국음악에 미친 영향" 2 : 101-, 1968

      8 박종배, "조선시대 문묘 향사 위차의 특징과 그 교육적 시사 -명 · 청 시기 중국과의 비교를 중심으로-" 한국교육사학회 34 (34): 1-21, 2012

      9 정화순, "조선 세종대 조회아악 연구" 민속원 2006

      10 송혜진, "조선 궁중음악의 유교적 특징" 2015

      11 이혜구, "정간보의 정간 대강 및 장단" 세광음악출판사 1987

      12 문숙희, "율려신서(律呂新書): 음악을 통한 세종의 국가경영" 47-68, 2014

      13 "용비어천가 4장"

      14 장사훈, "세종조 음악연구: 세종대왕의 음악정신" 서울대학교 출판부 1982

      15 이혜구, "세종장헌대왕실록 22" 세종대왕 기념사업회 1981

      16 송혜진, "세종의 음악 정치 목적과 방법 고찰" 한국동양예술학회 (20) : 187-220, 2012

      17 송혜진, "세종의 서재" 서해문집 2016

      18 "세종실록"

      19 송혜진, "세종대 동아시아 예악론의 인식 양상과 의례음악 정비" 한국학연구소 (51) : 111-142, 2014

      20 "세조실록 권48, 樂譜"

      21 "명종실록"

      22 劉東升, "그림으로 보는 중국음악사" 민속원 15-17, 2010

      23 "고려사"

      24 端憲, "風雅十二詩譜和瑟譜"

      25 藍玉崧, "韶"

      26 "闕里文獻備考 권24, 樂六之二"

      27 孙世洋, "论周代雅乐理念的人文政治关怀" 25 (25): 53-55, 2006

      28 "荀子 儒效"

      29 王美华, "礼乐制度与十国政治" (5) : 2001

      30 刘桂腾, "清代乾隆朝宫廷礼乐探微" 2001 (2001): 43-67, 2001

      31 臧艺兵, "探索与思考-记谱法的变更对中国音乐传承传播的影响" 2000 (2000): 26-, 2000

      32 "孟子 梁惠王下"

      33 "孔子家語 간행 시 『符 新刊素王事紀 聖朝通制』 「孔子 廟祀」항"

      34 王秀臣, "夏,商文化与“雅乐”制度的滥觞" 2007 (2007): 2007

      35 邱源媛, "唐宋雅乐的对比研究" 四川大学 2003

      36 "周禮 春官"

      37 김세종, "元代의 法典과 韓國 音樂" 한국사상문화학회 (44) : 427-443, 2008

      38 彭松, "中國大百科全書(音樂・舞蹈)" 中國大百科全書出版社 573-574, 1989

      39 沈知白, "中国音乐史纲要" 文艺出版社 17-20, 1982

      40 杨荫浏, "中国古代音乐史稿(下冊)" 人民音乐出版社 1005-1016, 1981

      41 杨荫浏, "中国古代音乐史稿(上冊)" 人民音乐出版社 1981

      42 赵维平, "中国与东亚音乐的历史研究" 上海音乐学院出版社 2012

      43 "『左傳』 昭公 20년 天子之樂曰雅"

      44 김종수, "「樂學軌範」 악기분류의 음악사학적 고찰" 동양고전연구소 (16) : 375-397, 2009

      45 漆明镜, "《魏氏乐谱》 若干问题之我见" 2009 (2009): 85-101, 2009

      46 Provine, Robert C., "Essays on Sino-Korean Musicology" Iljisa 1988

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      학술지 이력

      학술지 이력
      연월일 이력구분 이력상세 등재구분
      2027 평가예정 재인증평가 신청대상 (재인증)
      2021-01-01 평가 등재학술지 유지 (재인증) KCI등재
      2018-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2015-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2011-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2009-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2006-05-23 학회명변경 한글명 : 한국문화연구소 -> 규장각한국학연구원
      영문명 : Institute of Korean Studies -> Kyujanggak Institute for Korean Studies
      KCI등재
      2006-01-01 평가 등재학술지 선정 (등재후보2차) KCI등재
      2005-01-01 평가 등재후보 1차 PASS (등재후보1차) KCI등재후보
      2004-01-01 평가 등재후보학술지 유지 (등재후보1차) KCI등재후보
      2003-01-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
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      학술지 인용정보

      학술지 인용정보
      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0.83 0.83 0.82
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0.85 0.85 2.07 0.37
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