朝鮮前期 鄕樂의 三絃 傳統

A Study of the Samhyŏn Tradition in the Early Yi Period

According to the Chapter 32 of the Samguk sagi 『三國史記』, the samhyŏn 三絃, i. e. six stringed zither (kŏmun go 거문고 or hyŏn gŭm 玄琴). twelve-stringed zither kayagŭm 伽耶琴), and short lute(pip a 琵琶), played an important role in the category of Korean music so-called hyangak 鄕樂 of the Unified Silla period(668-935). Since then, the samhyon tradition is believed to have been transmitted not only to the royal music institutes, but also to private music societies of Koryŏ dynasty(918-1392) and Yi dynasty(1392 - 1910). On the basis of such historical sources as Taedong yasung 『大 東野乘』 or Anthology of Unofficial History and Chasŏn wangjo sillok 『朝鮮王朝實錄』 or Authentic History of the Chosŏn Annals, the present article attempts to find out the fact how the samhyŏn tradition was handed down to private music societies from the Koryŏ period to the early Yi period(1392 - 1592). In light of an extensive examination of these historical sources, it is said that the samhyŏn tradition seems to have been transmitted from private music societies of the Koryŏ period to those of the early Yi period without a great historical change. In other words, among the three string instruments, there was no historical change in the case of kŏmun go tradition. It must be, however, pointed out that the kayagŭm and pip a traditions had undergone much historical change from the Koryŏ period to the early Yi period. Like kŏmun go, kayagŭm was one of favorite string instruments from the Koryo literati, whereas pip a was habitually performed by female entertainers called kisaeng 妓生 or kinyŏ 妓女 of the Koryŏ period. In the early Yi period, however, with komun go, pip a became one of favorite string instruments from the early Yi literati, while kayagŭm was mainly played by female entertainers. In conclusion, it is suggested that the samhyŏn tradition of the early Yi period is thought to have been transmitted to private music societies known as p ungnyubang 風流房 of the late Yi period(1592 - 1910).