『원사(元史)』에 기록된 궁정악대(宮廷樂隊) 연구

Court Musical Bands of having been recorded in 『Yuan-shi』

본고는 몽골(원)제국의 궁정음악을 고찰하기 위해, 『원사』 「예악지」에 기록된 궁정 ‘악대’(宮廷樂隊) 4종인 악음왕대(樂音王隊), 수성대(壽星隊), 예악대(禮樂隊), 설법대(說法隊)의 용악절도와 수반되는 악곡을 해석(解析)한 것이다. 몽골(원)제국의 악대 4종은 첫째, 용악절도가 전대(前代)의 전형을 이어받은 듯하지만, ‘홍발청면구무(紅發青面具舞)’와 같은 다양한 가면무가 등장하는 차이점이 있다. 둘째, 타악기와 관악기의 고취악기로 편성되며, 찰고(札鼓)나 화고(和鼓)와 같은 전대(前代)에 볼 수 없었던 타악기가 있다. 셋째, 악곡은 원곡(元曲)과도 상관되는 원대(元代)에 출현한 산곡(散曲)이 주류이며, 일부는 불교문화와 함께 외래에서 수용된 악곡도 있다.

The purpose of this study was to consider court musical bands (宫廷樂隊) in the Mongol(Yuan)empire. It is what interpreted a piece of music that is accompanied with Muscal performance procedures in Akeumwangdae (樂音王隊), Suseongdae (壽星隊), Yeakdae (禮樂隊), Seolbeopdae (說法隊), which are four court ‘musical bands’ (宮廷樂隊) of having been recorded in 『Yuan-shi(元史)』 ｢Liyuezhi(禮樂志)｣. In terms of 4 musical bands in the Mongol (Yuan) empire, first, Muscal performance procedures seems to having succeeded in the archetype of the previous generation, but has a difference in which a variety of mask dances appear such as ‘Mask dance with red hair and blue face (紅發青面具舞).’ Second, it is composed of Gochwiakgi (鼓吹樂器, wind and percussion instruments) in percussion instruments and wind instruments. There are diverse percussion instruments, which have been unable to be seen in the last period, such as Chalgo (札鼓) or Hwago (和鼓). Third, a musical piece has the mainstream as Sanqu (散曲), which appeared in the Yuan dynasty(元代) of being interrelated even with Yuanqu (元曲). There are also a few musical pieces that were accepted from abroad along with Buddhist culture. Considering the record in 『Yuan-shi (元史)』 ｢Liyuezhi (禮樂志)｣, four musical bands in the Mongol (Yuan) empire have new court music in the Mongol (Yuan) empire by which Buddhist music in Western Xia (西夏) or Xiyu (西域) was absorbed in the music culture of Mongolia race.