초록 열기/닫기 버튼
18세기 후반~19세기 초중반 가집에서 ‘유동적 악곡’은 특이한 것이 아니라 보편적인현상이다. ‘유동적 악곡’은 가집이 편찬된 당시를 기준으로 그때까지는 악곡으로 정착되지 않아 변동이 심하거나 여러 악곡을 포괄하는 것을 가리키는 용어로 후대에는 주로‘중거’, ‘두거’, ‘평거’ 등 ‘이삭대엽’의 파생곡으로 나타난다. ‘유동적 악곡’은 18세기 후반~19세기 초중반의 가집에 보편적으로 나타나는데, 연행현장의 역동적 모습을 담고 있다. 이 글에서는 같은 계열의 가집인 나손본 『가사』와 한글박물관본 『율보』의 ‘유동적 악곡’인 ‘부조’의 전승과정을 탐색해 특이한 악곡이 아닌 보편적 악곡이라는 것의 증거로 삼았다. 18세기 후반~19세기 초중반은 앞선 시기에 비해 음악적 변화가 역동적이었기에 다른시기에는 나타나지 않는 ‘유동적 악곡’이 등장한다. ‘유동적 악곡’을 제대로 이해한다면이 시기 가집의 정확하게 파악할 수 있다. ‘유동적 악곡’이 있다는 것은 가집의 편찬자가이미 음악적 변화를 시작했고 그 변화에 가장 민감한 모습을 나타낸 것이다. 기존에 밝혀낸 『병와가곡집』, 서울대본 『악부』, 『흥비부』, 『동국가사』, 가람본 『청구詠 언』, 『영언』 등에 나타나는 ‘유동적 악곡’에 이 두 가집을 보충한다면 ‘유동적 악곡’이 19 세기의 보편적 현상이었음을 입증하는데 도움이 될 것이다. 18세기 후반에서 19세기 초중반 가집들의 ‘유동적 악곡’은 특이한 것이 아닌 보편적 특성일 가능성이 높음을 증명해낸 것이 이 논문의 의의다.
During the late 18th to mid-19th centuries, the concept of ‘fluid musical compositions’ within Song-book was not an anomaly but rather a common phenomenon. Th ese ‘fl uid musical compositions’ were not fi rmly established as specifi c pieces of music at the time of compilation, resulting in significant variations or encompassing multiple compositions. The term was later mainly associated with derivatives of the ‘Isakdaeyeop’ such as ‘Junggeo’, ‘Dugeo’, and ‘Pyunggeo’. These ‘fluid musical compositions’ were prevalent in Significance of the ‘Fluid Musical Composition’(‘Bujo’) in the Nasonbon Gasa and the Hangul Museum Edition Yulbo from the late 18th century to the mid-19th century, refl ecting the dynamic nature of performance scenes. Th is article explores the transmission process of the ‘fl uid musical composition’ called ‘Bujo’ in both the Nasonbon and Hangul Museum editions of the same genre, using it as evidence that such compositions were not anomalies but rather universal occurrences. Th e late 18th to mid-19th centuries experienced more dynamic musical changes compared to preceding periods, leading to the appearance of ‘fluid musical compositions’ that wouldn't be found in other eras. Understanding these compositions properly allows for a more accurate understanding of the court music collections from this period. The presence of ‘fluid musical compositions’ signifi es that the compilers of these Song-book were already attuned to ongoing musical changes and captured the most sensitive aspects of those changes. By supplementing the existing examples of ‘fl uid musical compositions’ found in works like the Byeongwagakokjip, Heungbibu, DonggukGasa, Yeongeon with the inclusion of these two Song-books, the Nasonbon Gasa and the Hangul Museum edition Yulbo this paper seeks to contribute to establishing that ‘fl uid musical compositions’ were a prevalent phenomenon of the 19th century. The significance of this paper lies in proving the likelihood that the ‘fluid musical compositions’ found in court music collections from the late 18th to mid-19th centuries were not anomalies but rather indicative of a common trait.
키워드열기/닫기 버튼
Fluid musical composition, Bujo, Song-book, transmission, universality, uniqueness
