소삭완급(疏數緩急)과 대강법(大綱法)의 재해석

This paper begins by addressing some of the reservations associated with the interpretation of the tempo of the Daegang-bup and Giaksamhyung 起樂三型, in The Annals of the Joseon Dynasty 世宗莊憲大王實錄 vol. 48-49. The Daegang-bup and Giaksamhyung is a new musical notation system for court music scores 新製略定樂譜. “Jungdaeupjimu” and “Botaepyeongjimu”, which were notated originally in The Annals of the Joseon Dynasty 世宗莊憲大王實錄 vol. 48-49, were newly translated into this new notation system in The Annals of the Joseon Dynasty vol. 137-139. Previous interpretations of Jang, Sahun and Lee, Hyegu show some disagreements regarding the interpretation of the tempo. Having acknowledged these disagreements, I have attempted to approach it from a different point of view. As a result, not only have I come to the opposite conclusion of Jang’s interpretation, but I also found that Lee’s analysis, a simple comparison of the two scores, seems inconclusive. Beginning with defining the important technical terms used in the old music score, “the tempo of infrequency and frequency” and “the method of marking of music rhythm,” I shall introduce a new approach to interpreting the old musical system by filling a needed gap between previous interpretations. First of all, I define the compound term, sosak 疏數 as “infrequency and frequency” based on a lexical analysis. I find the terms, “infrequency and frequency” refer to musical components such as tones, Janggo as a percussion instrument to beat time, lyrics, Pak, small and big brass gong instruments (soguem, daeguem).” Then, I examine how these components are arranged in the same bar or line in a new notation system from the perspective of “infrequency and frequency.” In other words, when musical notes are displayed loosely, it is called “infrequency,” when closely, then it is called “frequency.” In order to distinguish between “infrequency” and “frequency,” I calculated the number of notes in each daegang 大綱 from the first to third one. The higher number will be classified as “frequency” and lower as “infrequency.”On the other hand, chese 體勢 means a method to characterize forms of rhythms in traditional Korean music. Each line of musical notes in the The Annals of the Joseon Dynasty Musical Notes consists of 32 bars. And the method of chese is a system of notation to mark the set pattern of 3․2․3․3․2․3 with a bold line in order to make the notes easier to read. When I examine the “Giaksamhyung,” the set pattern of 3․2․3․3․2․3 is present in the music pieces in Daegang One. The music pieces of Daegang Two are a variation on the set patter of 2․3․3․2․3․3. The Daegang Three’s music pieces consist of the set pattern of 3․3․2/3․3․2. These three different types of set patterns are called “Giaksamhyung 起樂三型.” My interpretation of Daegang-bup is based on the restoration performance of “Samogok, Seogyeongbulgok, Chungsanbyulgok, Pungipsong, and Yasimsa” which was selected for performance among Korye songs in Siyonghyangakbo at the 2nd regular Daegum concert of Kyeongbuk on Sept. 27 in 2012. Based on an examination and analysis of “infrequency and frequency,” according to each Daegang, have come to the conclusion that most of the pieces of Daegang One conform to the tradition of “frequency” and “slow music.” However, among them, there were several music pieces, like the music of Daegang Three, that conform to “infrequency.” Furthermore, the tempo was same as the music pieces of Daegang Three. The music pieces of Daegang Two are located in between “infrequency” and “frequency.” We can see each piece in “Botaepyeongjigok” and “Jungdaeupsigok.” The music pieces that rest between Daegang One and Daegang Two, encompass components of both Daegang One and Daegang Two and they belong to the category of “infrequency and frequency.” In addition to that, the tempo is posed in the Middle Way and its rhythm is a variation of the set pattern of 2․3․3․2․3․3. Most of the music pieces of Daegang Three belong to the category of “infrequency,” and their tempo appears relatively fast compared to the pieces of Daegang One. Therefore, the order of the Daegang from One to Three is the order of tempo:beginning with a slow tempo, passing through middle tempo, and reaching the fastest tempo in Daegang Three. Among the pieces of Siyonghyangakbo, the piece with the mark of 1 is the slowest. I think that in numeric order from 2 to 3 to 4, the music is played gradually faster and faster. There is only one exceptional case:the 4th piece is categorized as “frequency.” However, this is only a small part of the picture. Generally speaking, we can say that the piece with the mark of 4 is the fastest one. When judging the tempo of the different Daesung, considering “infrequency and frequency” can be very useful. Lastly, I also examine the instruments used for beating time in the Royal Ancestral Ritual in the Jongmyo Shrine and its Music 宗廟祭禮樂. In the process of analyzing “the tempo of infrequency and frequency,” I have come to the conclusion that chanting and seonwi in Daegang One of Jungdaejigok should be classified as Daegang Three from the perspective of “infrequency and frequency” like somu, jeongsinseong, sooneung, and jeongse. However, people could not tell why chanting and seonwi are classified as Daegang One. I find that those pieces which belong to Daegang One share common features such as the inclusion of instruments of pak, such as small and big brass gong percussion instruments. Namely, when they recorded the Royal Ancestral Ritual in the Jongmyo Shrine and its Music in the The Annals of the Joseon Dynasty Musical Notes, the instruments of pak, small and big brass gong instruments (soguem, daeguem) were the main instruments that classified a piece as Daegang.