성재 유중교(省齋 柳重敎)의 음악론(樂論)

Lyu Joongkyo has a new understanding of the Ak(樂) as task to conserve the Confucian tradition. He insists to include Zhu Xi`s `儀禮經傳通解` instead of `禮記` in the Six Classics. As the Ak has been belittled in the Confucian tradition, he thinks, the Confucianism is out of balance. So, Reestablishing the Ak is to the way to restore the developments of the nature and the mind, the edification of practices, and the political functions.<BR> In the `絃歌軌範` which is written with his concern of the Ak, he demonstrates that the poetry which is played on the musical instruments by the sound and the tone delivers the meaning well and affects the listeners more deeply. In his theory, it is the basic structure that the poetry is the essence and is utilized by the tone. So, he has concern from the manufacture of the musical instrument(琴) to the technique and makes 琴 according to Zhu Xi`s `琴律說`. Morever, he is interested in the traditional movement of music and suggests `雅樂定律` as the Musical Classics. And in the `東謠律格`, he says the poetry written in the Korean is easier to sing and affect than the poetry written in the Chinese.<BR> Although he thinks Neo-Confucianism is the orthodox base of the Ak, he empathizes the importance of the tradition of Korean `雅樂` and the Korean poetry. Like this, while he recognizes not only Zhu Xi`s musical theory but also the Korean musical tradition, he lays the foundation of the realm of the Ak with `講學儀禮` in his school.