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      효명세자 예제 정재명과 악곡명에 대한 연구 = 연경당 진작시 예제 악장을 중심으로

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      https://www.riss.kr/link?id=A106154630

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      다국어 초록 (Multilingual Abstract)

      When Prince Hyomyeong was a young 19-year-old, assuming the great responsibility of deputy governing, he chose “Yeack politics” as a way of proving himself to be a qualified and ready reserve prince as the next monarch(君主). In the Joseon Dynasty when Confucian orthodoxy was the national policy, the king ruling with the Yeack was considered as the ideal monarch and could be praised as a sage king, the best example of Yeack politics was royal court banquet. It is because it gives the servants the effect of forcing the loyalty(忠) by showing respect for parents, celebrating their birthdays, and personally showing the filial piety(孝) for praying for longevity. In the Joseon Dynasty, the loyalty(忠) and the filial piety(孝) were one, not two. The servant must be loyal to the monarch, just as the child ought to be devoted to the parents.
      As the royal court banquet was a national ceremony served along with strict protocols of music (樂), song(歌), and dance(舞), the royal authority(王權) and the servant power(臣權) were clearly revealed. When the Prince of Joseon started the deputy governing on behalf of the sick king, it was the Kims of Andong that he pulled out the sword of Yeack politics called the royal court banquet and pointed at.
      As word(詞) is the opposite word of melody(曲), it means the lyric of the song. The reason word(詞) was called Jeonsa(塡詞) was that it means to fill up the lyrics according to melody(樂曲).
      In modern music, the music in which the lyrics are changed and singed to the same melody is called contrafactum. According to the present expression, it is “Swap Song”.
      Prince Hyomyeong, the Prince of Joseon who loved dancing!
      This researcher wants to follow the secret story hidden in the Titles of Votive Offering and Music pretypified by Prince Hyomyeong.
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      When Prince Hyomyeong was a young 19-year-old, assuming the great responsibility of deputy governing, he chose “Yeack politics” as a way of proving himself to be a qualified and ready reserve prince as the next monarch(君主). In the Joseon Dynas...

      When Prince Hyomyeong was a young 19-year-old, assuming the great responsibility of deputy governing, he chose “Yeack politics” as a way of proving himself to be a qualified and ready reserve prince as the next monarch(君主). In the Joseon Dynasty when Confucian orthodoxy was the national policy, the king ruling with the Yeack was considered as the ideal monarch and could be praised as a sage king, the best example of Yeack politics was royal court banquet. It is because it gives the servants the effect of forcing the loyalty(忠) by showing respect for parents, celebrating their birthdays, and personally showing the filial piety(孝) for praying for longevity. In the Joseon Dynasty, the loyalty(忠) and the filial piety(孝) were one, not two. The servant must be loyal to the monarch, just as the child ought to be devoted to the parents.
      As the royal court banquet was a national ceremony served along with strict protocols of music (樂), song(歌), and dance(舞), the royal authority(王權) and the servant power(臣權) were clearly revealed. When the Prince of Joseon started the deputy governing on behalf of the sick king, it was the Kims of Andong that he pulled out the sword of Yeack politics called the royal court banquet and pointed at.
      As word(詞) is the opposite word of melody(曲), it means the lyric of the song. The reason word(詞) was called Jeonsa(塡詞) was that it means to fill up the lyrics according to melody(樂曲).
      In modern music, the music in which the lyrics are changed and singed to the same melody is called contrafactum. According to the present expression, it is “Swap Song”.
      Prince Hyomyeong, the Prince of Joseon who loved dancing!
      This researcher wants to follow the secret story hidden in the Titles of Votive Offering and Music pretypified by Prince Hyomyeong.

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      목차 (Table of Contents)

      • Abstract
      • Ⅰ. 머리말
      • Ⅱ. 효명세자의 예제(睿製) 악장(樂章)
      • Ⅲ. 효명세자의 정재 창작
      • Ⅳ. 연경당 진작의 정재
      • Abstract
      • Ⅰ. 머리말
      • Ⅱ. 효명세자의 예제(睿製) 악장(樂章)
      • Ⅲ. 효명세자의 정재 창작
      • Ⅳ. 연경당 진작의 정재
      • Ⅴ. 맺음말
      • 참고문헌
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