Changes III Geomungo Music in the Joseon Era Hwang, Jun Yon' 1. Introduction A large amount of new music was comp<::lS<Xl based upon the fi-yuc phih"'rhy of Confucianism .ITer the establislunen! of the J(lli't)n dy""sty in 1392, resllltill,O; in a musical remtis,,,,,c,, in the 15th cenlU'Y, which is demonstrated by a IlWnber of pi"'-'" mmp;led in 1!Je Annals of Kmg ,x,je"'c and !be Anr1l1s of King .nd tho<e in a later publimllon mUro n,cak Hubo, and also by names mentioned in l):Jeak Jeonbo, a pubHc"ion thal nO lonb"" exi;ffi. TItis mu,bl advancement """ OOIltinued by !he public,uion of Siycmc Hy:lng'dkiJo "00 Ceumrupjilho. Unlike previous compilation.,. hmo''''''er,
26
Embed
Changes III Geomungo Music in the Joseon Era. 조선조 거문고음악의...GCI,1"J!Jaf~abo, published in 1572, was the IirsI one for th~ {!
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
Changes III Geomungo Music in the Joseon Era
Hwang, Jun Yon'
1. Introduction
A large amount of new music was comp<::lS<Xl based upon the fi-yuc (j~*)
phih"'rhy of Confucianism .ITer the establislunen! of the J(lli't)n dy""sty in
1392, resllltill,O; in a musical remtis,,,,,c,, in the 15th cenlU'Y, which is
demonstrated by a IlWnber of pi"'-'" mmp;led in 1!Je Annals of Kmg ,x,je"'c and
!be Anr1l1s of King Scfr~ .nd tho<e in a later publimllon mUro n,cak Hubo,
and also by ~'" names mentioned in l):Jeak Jeonbo, a pubHc"ion thal nO lonb""
exi;ffi. TItis mu,bl advancement """ OOIltinued by !he public,uion of Siycmc
Yoongsallhoesang; YeotJ,B.<311hoes3ng &ptan; aoo Ujo Y<tJmi11!ik. This book thus
pru><."Tlt.> the Jarges! amount of new musk 5ince H,mgeuFminho. 1hough i!
includes some Dae.Y<'<¥'-'tyJe songs WIth intere;ting titl",. they do nc~ repr=nt
" new genre. Of(,hoot" of Bo}Kvj:l/BoiJoosa: and Yeongsa:nhoes.m$ draw
.nention, and particularly Bonhrwnip, a variation on lJokop and
Yeonfl"1Ilhoes:mg GapliiI!, which appea", for the Mt lime, These offshoots arc
presented as new complelC pi= io F.-..ew>ho after Hmgeumsillbo aod show
""rly signs of variation. In short, the two compilations from the two halves of
the 18th century re.'pe<.tivdy indicate a dmn!!<' in which offshoots of lJoheoja
and YeonBs,,,,hoes:mg arc a<klcd to the populo, repertoire of the 171h century.
Overall, the two centurie> of growUllf,'O music of the Ja"'-= dyn.""y from the
first aprearance of Mandleyeop. Bl.lkjeon, YeomiJ/ak, and IJolreoj.. in
Gel.imhapftJho of 1572 to &x:unbo of 1779 OOs;""ny consl'itt.-d on tllC one Imod
of ,"Cat! music embrodng Bukjeon and Jungdoqeop (Sakd.'qeop) that
SIlcceeded MSlld.,qeop, and on th~ o,her hand of lfIStromental ITlU.,k induding
Yeowilhk, IJolJt"Oi.', and Yeonp=!J=mg "nd irs ""na{ion'. In other W<Jrt6,
.Daeyeq>-"'l'le song.' and f'ungflyu ImJ>ie like Yeon.t?""nilrle'=g ""'" particularly
popula, during this period, amJ it "' import.nt to note that there W".!S only
gradual change in tr.o..e genn."".
3. Yuyeji and the Music of Samjukgeumbo
Ev€n IllOR: manuscriplS appeared for the geomllngo in the 19<h century, the
most representative of which ""re YilY<14 which "",m, to have been compiled
early in the contury, nnd SWY)lkgelimbo of 1841. Although the inlc","ls between
them Were rela{ively soort, "" Yllyqi' came ou{ two or three decade" after
Eoeunbo and SmvJ"kgeumbo no more than tllI~" decades "ITer YU}'<1I, their
cont""", nrc rem:l,k:lbly d>stincl from ,heir ''''P'-,ctivt; prcJecCSSOIS.
Some impOrt,""'1 points '0 note .lx>ut YiJyeji ar€ that it cunt<tin:l ,;on,gs mostly
in ujo ,..~tllCr tltan in pyeongjcr, {hey are mainly Sakcbcycop songs such as
UciJoyeop, Gyechoyeop, which arc forerunne", of ChwudaeJ'ffJA m""-~ t1~\Il
jungd:ii!y<-"f', and the Ixx>k p""",n., a v.nety of fo",runner:; of brief G-,q;ok like
l\'ongy<:op, Umk, Gyt'mk, and l'yeon>'udl<:yeOp. Bc;iJcs, pkcc> that wuuk! latc~
be inmrpuratcd into Y<:OIJ!lsanhuesang as """'L"ITlen" to be played in
,uece;sion, ",",ch as Yeon>huJ Taryeong, Yukjayeombul, 'l!Yyeong, Gunak-ywp
'l3tyeOnlJ, lijo 1!Yyeong, .'iamhyeon Hwanip appear for .he first .ime to this
Ix>ok, All of .hese establ1Sh .ha. Yliyeji presents a major development of
georrtungo music from that shown in EIX"nbo,
The chan!,'" is c~'cn more prunouru,-"i in SamjuJg;eumho, which contains
Hoheop, Yff)mHlak and Yeongsanhoesang in original form: all the vatied
offshoots of Yeonss,mhoesa"s from JUfiS"Yeongs.'" througb GlIn:Y;, p1eces tbat
make up O>eoflflyeonma= such os Yan!!d=s Dodeuri, iJog.1r;,kfeJ, and
GyemyootIfPr;,kjel; and even coort music like Gwy'ung Chwita Md flogul11k, It
even «WCIS ffiOS1 of the songs of G.~gok that "'" sung tcda)' since several
olfshcXlt' grt-'W out of the ~''''''', And in addition, the book amtaln., a few ""n!l'
of (fa", and Sip which are not found in earlier p"bhru.ions.
Both of .hese two books continue the old tro<htion by presenting Gagok
(Sakr!'eyeop) and the SUlte of YeongsaIlho,"gatW as the main reper<olre of
geomungo music. AldlOl\gh i, appears that geoJJlungo music survived primarily
through DaeY'-'Op-S1yle songs and l'u1Jb"'YU rnu.,;e ruth as Yeof'l,=nhoesang '"
it had in the previous era, both l'\1J~i and S3mjukfJ"lImbo COIlllOin a host of
previously unseen pieces, Thu" some new geomun,go music of a differem
period emerged through me two books, and die P== of change ,hom> in
them, which"", dlrtt decade'S apart from each <xhcr-, SUIJl'l= me de\"lopment
of a nUInbcr of pubJi<:3tions of gcomungo music in the mid:/a>ean d)Ina<ty. '"I
10) 11", U"""""j",,L<Jty r"" P'"'' <.f <rum,,'< "' the <"'==<'0 mu~" of this p<riod ""Y "" ~,«l "'"'" m ,~, ",jU\ <he dwtge ;d",,,, .,,,~,,,",,,,,,, The "'''' cI chang< "'
13) "y= ",.., • ",«fuj ~ of .oosk "luIe f>.DnI""" "'" well ""l""Cn'oo "'th melody.
One cloy. V=rum """00;, few)"'ogg<onl Ming on, nJ.<.oepole;n the hou.o;c of~. Mort 01 the ,,,,,,,",,,,no> h>; ""." ~gll[ by K<lrt<u> enn"" '" Chma. "'" !hcrc =., ,..,..""e ,,00 0C<lld play them <The "'" _)" ··A """he< d S<ringe<l ==, FDk Kim p<hcrcd
around p«>plo m """hoo,;, hou", '0 COjOy ..... """" roc d=*= (The =t amittod)" 'com ~. ]c<>g<h;<" l".ok.
popular C'vmufl!:O fml,"c and the ffilJ>ic Ix::in);: """"""he<i. For example, G/'nak
T:uyeong in YiIY<ifi, a book thal contains • number of pic""'" previOll,ly "n=n
in geomwlfiO manuscripts, i> rewed '0 Gllfllflamewang in Siyong IfyanlFkho.
LikL ... Yise, G/mjllflg ChwiI:3 aoo Rogwwk in Samjlllq;eumho, which had nO!
"PfX-'lRxI in previous ="" for gromungo, hove been proven to have
descendeJ from Saetlgf,'ayotyaflg and Ssanghwagok, respe<:l,Ve\y, in 5Jjung
byangakbu,14J TIIis den..,,,,,ra,€.< that !i:J<:nMlyoty.mg, S""ncbWdgok, "00
G=-daeWlmg were tr.!lSITIltKxI in tlK; COurt for cenOlri", s;nce th~l' lllid been
recorded in Siyon,g 1/y.1f!/Fkho.
Tn summary, "'" six d=des immeruately before and afler {lie I%> C€ntury
saw " Kmarkable mcrease ;n the numkr of U,erary men who were w<:11 versed
in mUhlc, and die dose .. ~=;ation OClWC'CIl {hose men who play<-oJ !he
fl"Omungo and o:>ur< musici.ns would likely have led to coutt-derived new
rru.rsk enriching {he geomungo repertory on an unprecedented scale,
5. Conclusion
A macroscopic pe"'f"'C';ve OIl "'" d~'\'doprnent of fl"Omungo mu'ic lhal was
pan of the oxis of mu.<ic lililory after Gew1Jhappbo reveal' full !he period
""<-1ching ewer the 17th and the 18th centuries saw only gradual chan!,,,, whcreas
{he yearS 1770 {o l83IJ were marked by radiml change.
The invariahle refX'lloirc of geomungo music may Ix: atlributed (0 a
d",,,,creristically low d~rrutnJ for new music of the period. {t may Ix: I=aLlse
geoIml11gO music was a ITll'allS of sclf-<liscipline m{her (han something ro show
14) jon Yon If~=g, Stu&<. un ~'" ~ilfP Nc<>""" of the Ja=m Dyn.,.<ry ($eoo" ~
",,"""" "";""'''Y "'=, 2ID)).
off as a number of manuscripts bear out in their prefaces and epilogues, hence
there """ little change fur a lOO)l lime.
'Ihe Cloontum leap in .geotnll1J?O lmlSic at the tum of me 19th century may Ix:
=1:ed 10 con",a <vim COUI1 musician:; os poim<xl (JlJ' ab,,,,,,, but from a
macroscop', perspective, it may well have ,esulted from a changing rod.1 and
"'hum! ciirruJ'c kd by me Normem (Bllkhak) and Realist (Slfh.,kJ Schools of
Confuciani'm. A new ro::ial dmute would have genemled a profound interest in
new music, Had il not been fur a dem:tnd for new geomungo mu:;k, in.sisting
upon the smtus quo, the gre:lt inflow of court-<>riginatccl mu:.ic in~) ,uch
compilations <IS Yi,yt;li' and Samjulqrrombo W(JlJk! not have been possible, In
other word:;, 'his p:::ri<xl calk,,] for pmgrnatic music that would """,,",pond to
reali51 lands""!,,, paintings and popular paintings that emerged """" as the
",Ituml and discjplin,l emphasis on get"nollilflO music, ",hieh """ compambk to
hteral1 paintings and idealiS! lanclsclpe paintings of the prL'Vious period, had
weakened.
TIle music hi510ry of the JmcOfl clyna>ty boosts a rich tracli'ion of documented
mu>ic, including gcomWWO mllhlC and coun rntL'"c, and ,'ali",« forms ot orally
tf".m>mined mus.ic that "' now commonly known as folk musi~, This essay is an
anempt to erucid.te an .sped of the r:eh ",11Ure by =mining the development
and tf".m>rnisslon of the geomungo ffiU,", of the era.
"'0"''''''''"",,,,,,,, YU)"I i
(P)"""lIio) Bukjcon
(P)=l\io) Jungdacj=p (""""""'Y known "" S~l
(P)=.<:io) Sokd>c)=p I
(P)=s:io-",~m)'eonjo) BukJ=>
"l~'llil--'"
<ri', ('l!~
('lI-"'Y-t<lI'll* ('lIMI'!~~--'J
O'j~m,,,,,,jC) s,""-'''Y''''P I
(LcjC So""-",!,,,,!, n Wjo) Ruk""" (L"jo-;,'I"m)'<'Qnp ~,l;~ n -=","",00 -~,