『주례』의 음악기사 분석·연구

A Study of Chouli : Focusing on Aspects of the Musical Practices

I have analysed the musical aspects concerning Chouli (Churye, 주례, 周禮). one of the Confucian Canons. and attempted to consider the backgrounds to chakak (작악, 作樂. systems of composing music) and its relation to that of the early Chosŏn dynasty. Its analyses are based on seven aspects: (i) a brief survey of Chouli in terms of historical backgrounds: (ii) methods of the uses and functions of music relating to various rites regarding Orye (오례, 五禮) [literally Five Rites of Passage . such as kilye (길례, 吉禮, all the etiquette of state rites) . hyungye (흉례, 凶禮, rites of unfortunate affairs). pinye (빈례, 賓禮, social functions between ruling classes). kunye (군례, 軍禮, military ceremonies) and karye (가례, 嘉禮, domestic gatherings)]; (iii) types and numbers of officials who were called akkwan (악관, 樂官) as well as the contents of their works or duties in relation to musical affairs concerned; (iv) types of akmu (악무, 樂舞, types of music) and its functions; (v) an examination of classifications and types of musical instruments employed; (vi) contents regarding music theory such as sibiyul osŏng (12율(律) 5성(聲), twelve pitches and five tones). akjo (악조, 樂調, scale/ mode). pyŏnsu (변수, 變數, a type of musical performance) and akhyŏn (악현, 樂懸, installation of musical instrument); (vii) musical ideas based on other clues for sŏngŭi mihak (성(聲)의 미학(美學), aesthetics of musical sound). ŭmyangron (음양론, 陰陽論, the Yin and Yang principle) and chunghwa (중화, 中和, equilibrium). The survey regarding Chouli revealed two aspects : (i) backgrounds to the book : (ii) its contents of musical aspects. Firstly. I would consider that Chouli, which was concerned with chŏnjang (전장, 典章, all the cultural systems and organisations of the Chou dynasty) of the Western Chou dynasty (c. 1027-771 B.C.) . was written by the historians of the Chou court during the Eastern Chou period (770 -256 B.C.). The reason appeared to have derived from the fact that aspects of both its writing period and contents on the Chou dynasty were certainly around the Western Chou period. The other reason lied in the fact that the theory of Yin-Yang. which constituted the core of the musical ideas. was applied to the several sections of Chouli as a primary principle. while ohaengsŏl had not yet been applied, and although there was evidence that it was only on the seminal stage of oje (오재, 五材, literally five malerials/ elements) and remained the same stage afterwards. This fact corresponded to the historical process that ohaengsŏl was emerged from the Ch unch u periods [춘추, 春秋, literally Spring and Autumn Periods] (722-481 B.C.). Secondly, I have looked in the contents of musical aspects in Chouli in detail. There were twenty categories in akkwan relating to musical affairs such as administrative works. akjang (악장, 樂長, representatives of musical matters). educators. performers. curators for instruments. instrument makers. and so forth. The rankings of these officials corresponded to the status of ko (고, 考), ŭn (은, 殷) and po (보, 輔) which were equivalent to the order from the highest ranking to the lowest one - chŏng (정, 正). yi (이, 貳). ko. ŭn and po of kŏnje (건제, 建制, systems of official duties). And the total of the numbers was more than 1.463 people. Of them more than a half were ko (고, 瞽, the blind) and muja (무자, 無者, dancers). From the rest of the numbers the majority belonged to chongsa (종사, 鍾師), kyŏngsa (경사, 磬師) and paksa (박사, 鎛師) which comprised about sixty people. whereas the people who were classified with saengsa (생사, 笙師) were twenty-one people who belonged to a minority. There were different status among them: for instance, people who were working as administrators had higher rankings than the people who were engaged in practical matters such as performer or people in charge of foreign