earticle

영어

No serious attempt has been made so far to investigate in depth geomungo music by Jo Seong(趙晟), though it best embodies Geomungo musical legacy and traditions during the reigns of King Jungjong and King Myeongjong(1515~1551). Up to now, scholars have focused only on his Mandaeyeop score(慢大葉) reprinted in Songsshi Geumbosamsanje Manuscript Geumbo (宋氏二水三山齊本琴譜, hereinafter “Geumbo”). This study attempts to further explore his musical world by studying the scores attributed to Yangshim-Dang(養心 堂, Jo’s nom de plume) collected in HyeongeumDongmunYugi (玄琴東文類記, hereinafter “Hyeondong”). These scores, collated at the end of Hyeondong, include Johyeoneum or Dashirim (調絃音), Nakshi-Jo Mandaeyeop(樂時調 慢大葉), Pyeong-Jo Bukjeon (平調 北殿) and Pyeong-Jo Soyeop (平調 小葉). Furthermore Mandaeyeop Go-Jo(慢大葉 古調) and Mandaeyeop both in Geumbo are compared and analyzed in order to reveal a full picture of Jo Seong’s Mandaeyeop. In Hyeondong, there are two different passages explaining notations representing various techniques of Geomungo, one titled Yongbal Chweeseong Ji Do (用撥取聲之圖) under the chapter “Jo Seong’s Geum-Bo (趙晟 琴譜)” and the other under “Geum-Bo by Jo Seong (琴 譜－趙晟 別號 養心堂).” The latter shows notations not found in YongbalChweeseongJiDo such as those for techniques involving the thumb and the forefinger. The reason for this difference can be understood by referring to Ahn Sang’s (安瑺) Pyeong-Jo Jangdaeyeop (平 調長大葉) and Johyeon-Gok Ⅰchapter (調絃曲一章). Variety of new notations begins to appear in Jo’s later music composed after his Mandaeyeop. Jo must have created these notations to better express his musical ideas. In Ahn Sang’s music, some notations as Jachul (自出) and Yeok-Chuseong (逆推聲) only found in Geumbo are used. That Ahn Sang makes use of these new technical notations in his music shows the influence that Jo Seong must have had on later generations of musicians. It is clear from the scores and the musical discourses accompanying them in Hyeondong that there did exist a compilation of Geumungo mjusic by Jo Seong before his death in 1555. Up to now, however, no information was available to narrow down the date, other than “before Jo’s death.” For dating of the compilation, his Collected Writings [文集] is looked into in detail. The Writing contains pieces referring to his work on the Compilation. From them, it is possible to determine that the Compilation was completed by 1540 at the latest when Jo was 48 years old. There is an issues still unresolved with reference to Jo’s Mandaeyeop. A passage in Geumbo explains “慢大葉 古調 趙晟譜盖出於此.” This has been subject to various interpretations. “古調” and “盖出於此” are in smaller letters than “慢大葉” and “趙晟譜.” In the tradition of classical Chinese writing, words in large letters take precedence over those in small letters. The passage should then be interpreted as Mandaeyeop Go-Jo came from Jo Seong’s musical Compilation. To verify this point, Mandaeyeop Go-Jo and Mandaeyeop both in Geumbo are compared against Pyeong-Jyo Mandaeyeop Go-Jo in Hyeondong published during Jo’s generation, in terms of such characteristics as melody and publication dates. It seems that both the pieces probably were not copied from the original or from reprints available during Jo’s lifetime. Rather they are later versions, sometime after the publication of YangGeumShinbo(梁琴新譜) in 1610. Our historical investigation of Manaeyeop leaves no doubt that Mandaeyeop Go-Jo came from Jo’s Compilation. Moreover Pyeong-Jo Mandaeyeop Go-Jo in Hyeondong, Mandaeyeop Go-Jo in Geumbo and Mandaeyeop in Geumbo are scores of the same musical piece. Pyeong-Jo Mandaeyeop Go-Jo, the original score composed in the 16thcentury, go through change safter the 17th century in the form of Mandaeyeop Go-Jo in Geumbo in 10-JeongGan(井間) form at and in Pyeong-Jo(平調). Later, this version is further re-edited, as reflected in Mandaeyeop in Geumbo, in Pyeong-Jo and in 16-Jeonggan GeumgHapjabo(琴合字譜) format which records lyrics, geomungo music and accompanying wind instrument music side by side. Jo, Seong’s Mandaeyope has been reprinted over the centuries in such compilations as NamhunYuBo(南薰遺譜), InsuGeumBo(仁壽琴譜), GyeongdaeGeumBo(慶大琴譜) and Geum-Bo in Park Gi-Hwan collection(朴基煥所藏琴譜). These reprints are versions of the same musical piece differing somewhat in melody and Jeonggan format. These differences, reflecting the different times when these compilations were edited, show revisions that the piece had received over the years. They are all in Pyeong-Jo and in Sam-Ji [三指, 林․南․黃․太․姑] with Lim(林) as its key note(宮) with its fingering position at the 5th fret of Daehyeon(大絃). In this study, the relationship between Mandaeyeop Go-Jo in Geumbo and Pyeong-Jo Mandaeyeop Go-Jo in Hyeondong has been investigated in detail. However, the connections that Hyeondong’s Pyeong-Jo Mandaeyeop Go-Jo “as recorded by Park Geun” (朴謹所傳) have with Jo Seong have not been touched upon which, it is hoped, will be further investigated as a subject of another study. “It is meaningless to be tied down in the things of the past but it is more so if one ignores them. For these things of the past are the very thing that drives the new things.”

한국어

조선시대 거문고는 선유들의 청고한 이념과 자기성찰을 담는 그릇이었다. 실천적 수양방법에 의한 탄금과 금보 제작은 당시 거문고 음악에 관계된 학문적 대상인식을 명료하게 인지할 수 있다는 점에서 고무된다. 특히 저자와 연대가 분명한 고 금보는 후대에 제작된 금보의 새로운 음악적 사실들을 밝히는데 참고자료가 된다. 중종ㆍ명종대 금보의 적통을 이어온 조성금보는 음악사적으로 크게 조명 받지 못하였다. 조성의 악보로 『금보』(송씨이수삼산제본) 등에 실린 <만대엽>이 유일하다고 알려져 있기 때문이다. 그러나 이득윤(1553∼1630)의 『현금동문유기』에는 조성의 것으로 보이는 <낙시조 만대엽>․<조현음> 등이 다수 수록되어있어 주목된다. 따라서 본고에서는 『현금동문유기』에 실린 조성의 새로운 음악들을 확인하고, 동시에 그의 음악과 관련된 부대 악론들에 대해 살펴보았다. 먼저 『현금동문유기』에 전하는 다양한 조성의 악보들에 대해서는 『금합자보』의 <평조만대엽> 외에 『현금동문유기』에 실린 <평조 장대엽>․<조현곡일장> 등 새로운 안상 악보들을 참고하여 추론하여 보았다. 그리고 ‘조성보’로 명기된 ‘용발취성지도’의 수법과 『금보』의 수법조에 나타나는 차이에 대해서도 역시나『금합자보』 이후에 ‘모지자출’ 등 악율 진행의 필요에 따라 구가한 안상(1511~1576) 이후의 새로운 수법부호 들을 참고하여 이해를 구할 수 있었다. 다음으로 『현금동문유기』 소재의 ｢조성금보｣가 제작된 시기를 고증하였다. 지금까지 ｢조성금보｣의 제작 시기는 그의 卒(1555) 이전으로 막연히 짐작되었을 뿐이다. 본고에서는 ｢조성금보｣의 제작시기를 가늠할 수 있는 ｢양심당문집서｣ㆍ『관원일록』의 등을 살펴본 결과 늦어도 1540년(조성 나이 48세) 이전에 조성의 금보가 제작되었을 것으로 추정해 볼 수 있었다. 한편 『금보』에 수록된 <만대엽>과 <만대엽 고조>의 관계가 미제로 남아있었다. 그 이유는 <만대엽>에 표기된 “만대엽 고조 조성보개출어차”의 해석을 객관화하지 못하였기 때문이다. 따라서 본고는 한문학적인 방법의 해석과 함께 조성의 <만대엽>과 관계된 <평조 만대엽 고조>ㆍ<만대엽 고조>ㆍ<만대엽 조성보>를 비교하여 <만대엽 고조>가 조성의 악보이고, 또한 위의 세 악보가 동일한 악보로써 평조의 정체를 가진 곡들임을 확인하였다. 동시에 <만대엽 고조>와 <만대엽 조성보>는 조성 당대의 악보를 모본으로 삼아 『양금신보』(1610) 이후에 새로운 형태로 제작된 것이라는 결론을 얻을 수 있었다. 결국 조성의 악보로 간주할 수 있는 <평조 만대엽 고조>가 시대를 거치면서 평조의 정체를 지닌 <만대엽 고조> 및 <만대엽 조성보>로 제작되었고, 이어 『남훈유보』ㆍ『인수금보』ㆍ『남훈유보』ㆍ『박기환 소장금보』의 <만대엽 조성보>로 변화해왔다는 것을 알 수 있었다.