조선조 전정헌가의 문헌적 연구

목차

국문초록
서 논
제1장 고려조 헌가독주와 조선조 세종대의 헌가
1. 고려조의 헌가독주
1) 역할
2) 악기편성 및 연주악곡
2. 조선조 세종대의 헌가
1) {세종실록} [오례]의 헌가 역할
2) {세종실록} [가례서례]의 헌가 악기편성
3) 연주악곡
제2장 세조 성종년간의 전정헌가
1. {국조오례의}의 전정헌가
1) 역할
2) 악기편성
2. {악학궤범}의 전정헌가
1) 역할
2) 악기편성
3) 연주악곡
3. 전정헌가의 성립과정
제3장 인조 이후의 전정헌가
1. 전정헌가의 역할
1) 인조∼숙종년간
2) 영조대
3) 정조대
4) 순조대
5) 고종∼대한제국
2. 악기편성
1) 숙종∼정조년간
3. 연주악곡

본문내용

ng-h n'ga expanded during the late Chos n period for the following three reasons. First, as the liturgy of the late Chos n period was newly established, Ch nj ng-h n'ga was used for the ritual. Secondly, towards the later Choson period, more and more Ch nj ng-h n'ga was substituted for Ch nj ng-goch'wi. Finally, by the end of the reign of King Sunjo, Ch nj ng-h n'ga began to be used in banquets for women where female musicians and blind musicians performed.
The orchestration of Ch nj ng-h n'ga and T ngga reveals distinct differences. Unlike Ch nj ng-goch'wi and T ngga, aak-ki such as k n'go, nggo, sakgo, p'y njong, p'y n'gy ng, ch'uk, and were used in Ch nj ng-h n'ga. These instruments, never used in Ch nj ng-koch'wi and T ngga, were employed from the emergence of Ch nj ng-h n'ga through the end of the Chos n period. During the late Choson period, string instruments such as k mun'go, kayag m, and w lg m were omitted.
The performance style of Ch nj ng-h n'ga using aak-ki such as p'y njong, p'y n'gy ng, and wind instruments is regarded to be carried on by hapak of Kungnip-kugakw n today. The performance style of T ngga which includes both tangak-ki and hyangak-ki throughout the Chos n period is thought to be succeeded by today's Y millak which employs string and wind instruments.
The repertoires of Ch nj ng-h n'ga were not fixed according to the ceremonies. Consequently, pieces performed in Chohoe were also performed in rituals and in banquets. Furthermore, Ch nj ng-h n'ga had larger number of pieces in banquets than in any other ceremonies. In the early Chos n period, the repertoires of Ch ngj ng-h n'ga included hyangak pieces -- Potaep'yong, Ch ngdae p, Y millakman, and Y millakry ng -- and tangak pieces -- Songsumugangman, Taep'y ngny n, Poh ja, Oun'gaesojo, Suryong'um, and Nagyangch'un. During the reign of Sejo and S ngjong, Potaepy ng and Ch ngdae p were often performed in many ceremonies. Some of the Ch nj ng-h n'ga repetoire was also used for the performances of Ch nj ng-goch'wi and T ngga. Therefore, there was no distinction between the repertoires of Ch nj ng-h n'ga, and Ch nj ng-goch'wi and T ngga during the early Chos n period. However, towards the end of King Sukjong's regin, different pieces began to be performed for Ch nj ng-h n'ga and T ngga. By the end of the Chos n period, pieces performed by the two orchestras, Ch nj ng-h n'ga and T ngga, were clearly distinguishable. Thus, Ch nj ng-h n'ga performed Y millakman, Y millakryong, Nagyangch'un, and Poh ja whereas T ngga performed W nmugok and Hyangdanggyoju.
In conclusion, I examined the characteristics and the procedures of the formation of Ch nj ng-h n'ga. The change of Ch nj ng-h n'ga revealed the change of court music during the Chos n period. Also, through this study, I was able to explore the characteristics of Ch nj ng-goch'wi and T ngga.
Key words : Ch nj ng-h n'ga, Ch nj ng-goch'wi, T ngga,
Oryui, ceremonies, Aak, Hyangak, Tangak,
wind instruments, string instruments

키워드

헌가독주,   세종대의 헌가,   전정헌가,   영조대,   순조대,   연주악곡