朝鮮朝의 鼓吹와 鼓吹樂

다국어 초록 (Multilingual Abstract)

Koch'wi and koch'wiak are the terminologies of Korean traditional music which designate some parts of Korean court music. These two words were found often in the court ceremonies of the Koryo(高麗,918-1392) dynasty. Especially koch'wi and koch'wiak were tightly connected with the many kinds of court ceremonies during the Choson (1392-1910) dynasty. It seems to be that the musical roles of these two were not so little in court ceremonies of the Choson dynasty. But we do not know much about these koch 'wi and koch'wiak at the present. So I think that we have to solve some problems which are involved in these two koch'wi and koch 'wiak urgently for the right grasping of them.

And the problems are as follows:

1) Above all the misconceptions of koch 'wi and koch'wiak are spread so widely and seriously in the musicological circle of Korea like these. Sometimes koch'wi and koch 'wiak are explained as the same musical things. Quite a few Korean musicians and musicologists regard koch 'wi as a military band and koch 'wiak as it's music. Some think that koch'wi was the instrumentation of wind and percussion instruments, koch'wiak was the music by this instrumentation. Some others think koch'wi was the band and band music which were included in the royal processions. And some think koch wi was some musical styles or performing forms which were performed in the court ceremonies. And again koch 'wi and koch'wiak are regarded as Taech'wit'a(大吹打) {including naech'wi(內吹), ch'wigosu(吹鼓手), seaksu(細樂手)}. So I think that for the right grasping of koch'wi and koch 'wiak it is very important and urgent to establish the correct conceptions of koch 'wi and koch'wiak.

2) Koch 'wi and koch 'wiak were continued from the early Choson dynasty to the second half of the Choson dynasty. But we do not know well about the changes of instrumentation in koch 'wi chronologically and the characteristics of koch wi. So it is also necessary to know these two in detail.

3) Koch wi was used in many kinds of court ceremonies during the Choson dynasty. But we do not know well about it's use as well. So I think that to make clear for what purposes koch'wi was used, or performed is also necessary.

4) What were the musics of koch'wiak in the early Choson dynasty? Which pieces of music were performed during the Choson dynasty in the name of koch'wiak? And were there any musical characteristics in those musics of koch'wiak? We also do not know well about many of these musical aspects of koch'wiak. So these are also important problems of this dissertation.

The purposes of this doctoral dissertation are to solve these 4 problems and to find out the right position of koch wi and koch 'wiak in the history of Korean music.

The final results of this study are as follows:

The conceptions of koch 'wi and koch 'wiak: Koch 'wi was the special instrumentation, or orchestral band which was displayed for the purposes of performing some music in the many kinds of court ceremonies, including the royal procession within city walls and in front(or at the back) of chongjon (正殿, the royal audience chamber) during the Choson dynasty. Koch wi was differentiated from tŭngga(登歌, orchestra on terrace) hõng'a(軒架, orchestra on ground) of chehyang(祭享, royal memorial rites), yonhyang(宴享, royal banquet), and chõn jong hong'a(殿庭軒架, orchestra on ground in front of the royal audience chamber) because there was no aakki(雅樂器, instruments for court ritual music of Chinese origin). But koch'wi was the instrumentation, or orchestral band of a lower grade than chon jong hong'a. There were chon jong koch'wi(殿庭鼓吹,koch'wi on in front of the royal audience chamber), chonbu koch'wi(前部鼓吹, the front koch'wi in the royal procession) hubu koch'wi(後部鼓吹, the rear koch 'wi in the royal procession), and chonhu koch'wi(殿後鼓吹,koch 'wi on at the back of the royal audience chamber) during the Choson dynasty.

And finally koch 'wi was not concerned with the military band and it's music, or Taech'wit'a. As a military band or music by it Taech wit'a was only used for the royal processions outside city walls.

Koch 'wiak was the music which was played by koch 'wi during the Choson dynasty. So koch'wi and koch'wiak were not the same things. They were differentiated from each other like modern symphony orchestra and symphony, orchestra and orchestral music, choir and choral music.

The instrumentation of koch 'wi There were two chõn jong koch'wi in 1445(the 27th year of King Sejong,世宗, the Great) for the king and the crown prince. We can say that these two chõn jong koch'wi were composed of hyangtang kyoju(鄉唐交奏, composition of native instruments+Chinese T'ang style instruments). Chon jong koch'wi in the oryeŭi(五禮儀, article on 5 kinds of court decorums) of Sejong Silnok(『世宗實錄』, chronicles on King Sejong the Great) was enlarged to chon jong koch wi from the chõn jong kochwi in 1445. It was made from the chăn jăng koch'wi in 1445 to which aakki(雅樂器, instruments for court ritual music of Chinese origin), hyangakki(鄉樂器, native instruments), and singers were added. This frame of chonjong koch wi was continued in the Kukcho oryeŭi(『國朝五禮儀』,1474). Aakki and singers were removed from the chon jong koch'wi in the Akhak kwebom(『樂學軌範』,1493). So chănjăng koch'wi resulted in perfect hyangtang kyoju in the Akhak kwebõm. But kayagŭm(伽倻琴, 12-string native long zither) hyỡngŭm(玄琴, 7-string long native zither) hyang-pip'a(鄉琵琶, 5-string native lute) were comprised in the chon jong koch'wi of the Akhak kwebom like the chõn jong koch 'wi in the oryeŭi of Sejong Silnok and in the Kukcho oryeŭi
We can say that after the Akhak kwebom the chon jong kochwi of 1749(the 25th year of Yongjo, 英祖) was the restored chõn jong koch'wi of 1445. Ajaeng(牙筝, 7-string bowed zither) was excluded from the chon jong koch 'wi of 1445. And then the chon jong koch'wi in the Nobusik(『鹵簿式』,around 1762-1800) adopted haegum(奚琴, 2-string spike fiddle)and it was also same in the Ch'un'gwan t'onggo(『春官通考』, 1788).

Every chonjong kochwi of the Choson dynasty was always comprised of these 9 instruments, taegum(大等, large transverse bamboo flute), tang-p'iri(唐醫築, Chinese cylindrical oboe), tungso(洞簫, end-blown bamboo notched flute), tangchok(唐笛, medium-sized transverse bamboo flute), tang-pip'a(唐琵琶, pear shaped 4-string Chinese lute), changgo(杖鼓, double headed hourglass drum), kyobanggo (敎坊鼓, large barrel drum), panghyang(方響, metallophone which consisting of tuned iron slabs), and the haegŭm besides very few exceptions. And the characteristics of hyangtang kyoju in chõn jong kochwi was not changed during the whole Choson dynasty. So we can say that all chon jõng koch 'wi of the Choson dynasty characteristically consisted of the frame of these 9 instruments in hyangtang kyoju as a rule.

The instrumentation of chonbu koch'wi and hubu koch'wi was also the same as that of chonjong koch'wi in oryeŭi of Sejong Silnok and Kukcho oryeŭi. Therefore it consisted of hyangakki, T'angakki(唐樂器, T'ang style Chinese instruments), aakki, and singers as well. The instrumentation of chonbu koch'wi and hubu koch'wi in the Akhak kwebõm became complete orchestral bands for the royal processions within city walls. Because there was no kayagŭm hyǒngăm hyang-pip'a, ajaeng taejaeng(大筝,15-string bowed zither), and singers in it. After the Akhak kwebom the changes of instrumentation in chonbu koch'wi and hubu koch'wi were very similar to those of chon jong kochwi. So it meant that the instrumentation of chonbu koch'wi and hubu koch'wi consisted of the same 9 instruments in hyangtang kyoju as I have said just before on chon jong kochwi.

The sejang koch'wi(細仗鼓吹) was a kind of chonbu kochwi. And it was reduced to a smaller koch wi from the chonbu koch'wi. It was described in the Nobusik in detail in the first place. Chonhu koch'wi was started in 1466(the 12th year of Sejo, 世祖), but it showed it's shape in the Akhak kwebom in the first place. The frames of this chonhu koch wi and sejang koch'wi were also very similar to those of chonjong koch wi, and chonbu koch'wi hubu koch'wi. So these two koch 'wi also consisted of 9 instruments as I said above.

Therefore I think that the instrumentations of all koch'wi during the Choson dynasty were consisted of 9 instruments in hyangtang kyoju as I said before. I think this was the established principle, frame, and characteristics of all koch'wi in the Choson dynasty. And this principle was established in the era of King Sejong the Great and was continued until the second half of the Choson dynasty.

Koch'wi were always stationed in the nobu(鹵簿, a kind of cortege for the royal procession). Chonbu koch'wi and hubu koch'wi were stationed in the taega nobu(大駕鹵簿, the largest royal procession), popka nobu(法駕鹵簿, the medium sized one), and chonbu koch'wi was stationed in the soga nobu(小駕鹵簿, the smallest one) during the first half of the Choson dynasty. But from 1744 (the 20th year of Yongjo) hubu koch wi was stationed in the soga nobu as well. And from this time naech 'wi, which consisted of 23 people, was stationed parted right and left in each 3 kinds of nobu before chonbu koch'wi. But chonbu kochwi and hubu koch 'wi were only stationed in each nobu with naech 'wi for the purposes of the royal processions within city walls, and naech'wi was only stationed in each nobu and vice versa. So kochwi and naech'wi were clearly differentiated.

The use of koch 'wi During the Choson dynasty koch 'wi was used for the purposes of haengak(行樂,music for royal procession) and chon.jõngak(殿庭樂, music for the ceremonies which were performed in front of the royal audience chamber). The use of chonjong koch wi, chonbu koch'wi hubu koch wi, and chonhu kochwi during the Choson dynasty was differentiated and graded by the head of ceremonies.

Chon jong koch wi as music for the ceremonies of chon jong was only used for the king and crown prince. For example choch'am(朝參, regular weekly meetings which the king and the lieges were to take part in) in which koch'wiak was performed by koch wi three times when the king(or the crown prince) was coming out and taking a seat, all lieges are doing their respectful salutation, and the king(or the crown prince) was returning to the hall which was located at the back of chongjon after the end of the ceremony. Chonjong koch'wi of the Choson dynasty was used for lower graded ceremonies than the ceremonies in which chon jong hồng'a was used.

Chonbu koch'wi hubu koch'wi in the taega nobu and popka nobu as the music of royal procession was only used for the king. Koch 'wiak was not usually performed by koch'wi when the king was coming out of the palace for the procession of which aim was coming to the place where the main ceremony would be taking place. On this occasion usually koch wi was only displayed before the sedan chair for the king. But after the ceremony was over when the king was returning to the palace as in the Chongmyoeŭi(宗廟儀, rite for the royal shrine) koch 'wiak was performed by koch'wi. Chonbu kochwi in the soga nobu was used for the ordinary coming out of and returning to the palace of the king, the crown prince, and the queen in the royal procession. It was also used for the kwansa(觀射,when the king is watching archery practice).

Sejang koch wi was mainly used for the royal ceremonies, but it didn't perform koch'wiak in all royal wedding ceremonies. In this sejang koch'wi the head of procession was not the king(or the crown prince and the queen), but an envoy who acted upon the king's order.
Chănhu kochwi was only used for the king when he was coming in and out of chongjon and the place of royal banquet from or the hall at the back of chongjon and the place of royal banquet. On these occasions chănhu koch 'wi performed koch'wiak twice. Chonhu koch'wi was a kind of haengak because it was used when the king was moving.

The use of each koch'wi was established in the era of King Sejong the Great and Kukcho oryeŭi. And after that it was not changed until the second half of the Choson dynasty. But the number of court ceremonies in which koch'wi was displayed or koch'wi performed koch'wiak were increased gradually from the early 15th century to the second half of the Choson dynasty. And the number of increased ceremonies was the highest in the Ch'un gwan t'onggo. Therefore we can say that the paradigms of koch'wi in the court ceremonies were higher in the second half of the Choson dynasty than those of it in the first half of the Choson dynasty. And among these court ceremonies in which chonbu koch'wi hubu koch'wi, and chõhu koch'wi were used were more increased than the ceremonies in which chon jõng koch 'wi was used.

Koch'wiak: I found that according to performed examples from the early Choson dynasty tangak(唐樂, Chinese music) had been used, or performed by koch'wi before King Sejong(世宗) the Great composing his new music. These pieces performed by kochwi were Songsumugang(聖壽無疆), T'aep'yŏngnyon(太平年), Pohoja(步虚子), Oun'gaesojo (五雲開瑞朝), Suryongŭm(水龍吟), and Nagyangch'un(洛陽春). Among the new musics composed by King Sejong the Great Yomillak(與民樂) was added to these 6 pieces of koch'wiak. Hwan gungak(還宮樂) was also added to these pieces after the Akhak kwebõm. After the Akhak kwebõm these 8 pieces of music had been performed by kochwi continually to the second half of the Choson dynasty. So these 8 pieces of music were real living examples which were performed by koch'wi as koch'wiak continually during the Choson dynasty.

Koch wi of hyangtang kyoju was suitable for performing these 8 pieces. But Taech wit'a and instrumentation by hyangakki, and aakki were not suitable for performing these 8 pieces.

These 8 pieces of koch'wiak were not the independent music of genre because these 8 pieces of music were performed on many other occasions and by other instrumentations like tăngga and hõng'a of court memorial rites or court banquets, and chon jõng hồng'a. These 8 pieces of music were also used as court dance music during the Choson dynasty. So we can say that there was no exclusive koch wiak from King Sejong the Great to the second half of the Choson dynasty. But it is no doubt these 8 pieces of music were performed by kochwi as koch'wiak during the Choson dynasty.