This paper explores the Sinje Aakpo 新製雅樂譜 [New Ritual Music Scorel) for the Won gu 圓丘 [Heavenly Spirits) in the Annals of King Sejo(1455-1468). The Origin of this score has been questioned by the editor of Taeak-hubo 大樂後譜 [Scores of Great Music : Later Edition] (1759), and has not yet been studied until now. My analysis compares this score to those from Sung, Yüan, and Ming China and reveals their differences as follows. The the Sinje Aakpo melody performed only between the Third and Tenth year King Sejo(l457-1464) is unlike the other Korean Aak melodies, making us believe that it originates from another source, rather than Ta-ch eng yüeh-p u 大成樂譜 [Collection of Ta-ch eng Music) written by Lin yü 林宇, This score differs from the traditional Aak Notations in that it does not indicate the orchestration of each order; it fails to follow the Principle of Yin-yang Harmonic Sound, using only the key of F in the Tangsang 堂上 Terrace of the shrine building and the Tangha 堂下 Chortyard; and melody and text follow the four syllables, eight lines format; and finally, it lacks titles of the pieces in its text. The Annals refer to the differences shown above as characteristics similar to that of Ming Dynasty. However, my analysis reveals that these differences are related to that of Yüan and Sung Dynasties, not Ming. Thus New Ritual Music Score for the Heavenly Spirits is a significance source that should be further studied.
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