King's representation of the royal music of the Joseon Dynasty and its musical history

본 논문은 조선조 왕실음악에서 국왕의 표상의 어떠한 방식으로 발현되었는가를 살피는 데에 목적을 두고, 국왕의 의례에서 나타나는 음악의 차등적 사용의 측면을 다루었다. 왕실음악은 기본적으로 오례의를 실행하는 데에 수반되었기 때문에 순수한 감상용 음악과는 거리가 멀었다. 오례의에 속하는 의례는 격에 따른 차이가 명확하게 존재했고, 그러한 분변이 음악에서도 실현되어야 했다. 의례에 차서에 따라 음악에 차등을 두는 방식은 악대의 사용을 달리하거나, 연주 악곡에 차이를 두는 다양하고 복잡한 형태로 운용되었다. 따라서 국왕의 위상을 드러내는 방법도 다양했는데, 본 논문에서는 연주 악곡과 노부의 고취악대의 쓰임을 중심으로 조선 왕실음악의 운용에서 나타나는 국왕의 표상을 살폈다.

This paper deals with the different aspects of the use of music in the royal ceremony, with the aim of examining how King 's representation of King's court music was expressed. Although there existed a way of expressing the king's representation in the royal music of the Joseon Dynasty, no researches on it have been made so far. In this paper, we discuss the way in which the King 's representation of King' s royal music was manifested in the Joseon Dynasty. Royal music was basically involved in practicing baptism, so it was far from pure impressionistic music. The rituals belonging to the Oryeui(Five typies rite) were clearly different from each other, and such fate had to be realized in music. The manner in which the music is differentiated in accordance with the rituals has been operated in a variety of complex forms that differentiate the use of the bands or differentiate the playing music. In the beginning of the Joseon Dynasty, the music symbolized the feat of the founding country. In the reign of king Sejong, it was named as Yungan-jiak(隆安之樂). Therefore, in this paper, we looked at the representation of the King in the operation of the Joseon royal music centered on the use of the musical pieces and the band of Nobu(鹵簿).