현행 한국 당악의 악조와 그 특징에 관한 연구

정화순 한국국악학회 2015 한국음악연구 Vol.58 No.-

본 연구에서는 한국의 당악이 중국 전래의 속악인 점을 고려하여 그 연원처로서 중국 속악의 2종 악조인 “연악조”와 “청악조”를 개괄한 뒤, 중국 전래 속악 가운데 현행하는 ≪보허자≫와 ≪낙양춘≫이 각각 “연악조”와 “청악조”에 속하는 서로 다른 악조의 악곡임을 밝혔다. 나아가 우리나라에서 창작된 악곡 가운데 “황종의 음고가 ‘c’인 점”, “당피리가 중심이 되는 점” 등 당악적 조건을 갖춘 ≪여민락만≫․≪여민락령≫․≪해령≫․≪정동방곡≫․≪유황곡≫ 등의 악곡들 역시 한국의 “당악”으로 간주하고 그 악곡들의 악조에 대하여 살펴보았다. 아울러 종묘제례의 진찬악인 ≪풍안지악≫과 그 축소곡인 ≪경모궁제례악≫의 ≪혁우곡≫ 등도 정대업․보태평과는 다른 음계구조를 지닌 악곡이라는 점에서 본 연구 대상에 포함하였다. 그 결과, 한국의 당악에는 중국의 2종 속악조의 전통을 지닌 “연악조”의 악곡들(≪정동방곡≫과 ≪여민락만≫)과 “청악조”의 악곡들(종묘제례의 진찬악 ≪풍안지악≫과 ≪경모궁제례악≫의 ≪혁우곡≫)이 포함되어 있지만, 그밖에 향악의 평조와 동일 구조를 지닌 “5음음계”의 악곡(≪여민락령≫과 ≪유황곡≫)과, 평조와 계면조가 조합된 “7음음계”의 악곡(≪해령≫)도 포함되어 있다는 점에서 중국 속악과 다른 면이 있음을 알게 되었다. 뿐만 아니라 “청악 7음음계”는 온전한 구조의 정통성을 유지하고 있는데 반하여, “연악 7음음계”는 제3음인 “姑”가 생략됨으로써 “6음음계”화되어 나타난다는 점 역시 한국 당악조의 특징으로 꼽을 수 있다. 문헌상, 한국 당악의 악조가 2종으로 구분되어 나타나는 사례는 악학궤범당비파의 조현법에 명시된 “상조”와 “하조”에서 발견된다. 2종 조현법의 4개 현에 명시된 음으로 미루어 “상조”는 “연악조”에 해당하고, “하조”는 “청악조”에 해당함을 확인할 수 있다. 이러한 사실은 중국 속악의 “연악조”와 “청악조”가 매우 이른 시기부터 한국의 당악에서 운용되어왔음을 말해준다. This study, considering that Dangak came from China's Sokak (lit. vulgar music), examined such two Chinese tune origins, Yeonakjo and Cheongakjo, and revealed that, of China's extant Sokak tunes, the extant Boheoja and Nakyangchun belong to Yeonakjo and Cheongakjo, respectively, making them different from each other. Furthermore, of Korea's created tunes, tunes - which are equipped with Dangak conditions such as Hwangjong's pitch being c and Dang piri (fiddle) being the center - including, Yeominnakman, Yeominnaknyeong, Haeryeong, Jeongdongbanggok, and Yuhwanggok, were regarded as Korea'sn Dangak, and their tones were examined. Also, Jongmyojeryeak's ritual wine-offering music Punganjiak and the tune's reduced tune Gyeongmogungjeryeak's Hyeokugok were also examined in this study, considering that these have a different scale structure from Daeeop and Botaepyeong. As a result, it was found that Korea's Dangak encompasses not only China's two Sokakjo tradition of Yeonakjo(Jeongdongbanggok and Yeominnakman) and Cheongakjo tunes(Jongmyojeryeak's ritual wine-offering music Punganjiak and Gyeongmogungjeryeak's Hyeokugok), but also the 5-tone scale tunes with the same Hyangak Pyeongjo structure(Yeominnaknyeong and Yuhwanggok) and the Pyeongjo and Gyemyeonjo combined 7-tone scale tunes(Haeryeong), making them different from China's Sokak. Also, while the Cheongak 7-tone scale maintains the whole structure tradition, the Yeonak 7-tone scale drops the third tone Go, making it a six-tone scale, and characterizing Korea's Dangakjo. According to historical records, Korea's Dangakjo is classified into two kinds, whose examples are found in Sangjo and Hajo specified in the Dangbipa tuning method of Akhakgwebeom. Given the tones specified for the four strings in the two tuning methods, Sangjo is considered Yeonakjo, and Hajo considered Cheongakjo. This fact suggests that China's Sokak Yeonakjo and Cheongakjo were applied to Korea's Dangak from very earlier times.

初期『井間譜』의 易學的 解釋을 위한 試圖

정화순 한중철학회 1995 한중철학 Vol.1 No.-

율여와 음양이론

정화순 동양철학연구회 2001 東洋哲學硏究 Vol.26 No.-

律呂理論은 陰陽理論을 핵심으로 하는데, 아는 陰陽之道, 즉 天道를 핵심으로 하는 객관세계의 원리에 의뢰하여 律呂理論의 근거를 마련하려는 태도에서 비롯된 결과이다. 본고는 律呂理論 가운데 기원고사?명칭?산출이론 등의 방면에 관한 연구로서, 특히 한대 이후 그 산출 법에서 대두된 ‘上五下六’과 ‘上六下五’의 두 논리에 비중을 두었다. 12律은 기원고사나 산출 법에서도 음양원리가 적용되었음은 물론, 각각의 명칭에 있어서도 12월에 견주어 1년 四詩의 운행으로 풀이하여 왔다. 소위 ‘上五下六’이란 12율을 생산함에 黃鐘을 기준하여 上生 5회, 下生 6회 하는 경우이고, ‘上六下五’란 上生 6회, 下生 5회 하는 경우이다. 이는 陰陽 相生原理에 의한 12율의 산출방법에서 上生과 下生에 대한 해석의 차이에서 비롯한다. 통상 陽生陰을 下生이라 하고, 陰生陽을 上生이라 하는데, 이는 上生?下生을 年中陰陽의 氣運에 구분없이 일관되게 해석한 경우이다. 다른 하나는, 1년을 陰陽二氣로 兩分하여 陽氣가 성한 시기와 陰氣가 성한 시기에 다라 上生과 下生 역시 달라져야 한다는 것이다. 前者는 西漢의 可馬遷?京房?東漢의 班固 등을 대표로 하고, 後者는 戰國시기 呂不韋?東漢의 鄭玄?北宋의 陳祥道 등을 대표로 한다. 위 두 가지 견해는 南宋 蔡元定에 이르러 병합?절충되어, 上生?下生에 대한 통상 개념은 고정화 되었지만, 陰이 아래에서 始生하는 5월의 律

洞簫에 관한 硏究

鄭花順 국립국악원 1992 국악원논문집 Vol.4 No.-

한국음악의 악조에 대한 일고찰

정화순 한국음악사학회 2004 韓國音樂史學報 Vol.33 No.-

『高麗史·樂志』所載 雅樂에 대한 검토

정화순 청주대학교 예술문화연구소 2000 淸藝論叢 Vol.17 No.-

조선 세종대 신제(新制) 조회아악(朝會雅樂)의 활용실태

정화순 청주대학교 학술연구소 2005 淸大學術論集 Vol.5 No.-

The reign of King Sejong (1418-1450) has a profound meaning in the history of traditional Korean music in that it opened a new era of Korean court music, aak, by creating two kinds of aak, Johoeaak (aak for morning gathering) and Jesaaak (a-ak for ritual). Studies in a-ak in the Choseon period have focused mainly on Jesaaak, while making a passing mention that Johoeaak was created in that period without any further elaboration on how it was used. This study examines in what ways Johoeaak had been used in that period. The two kinds of aak were completed in late 1430. Of the two, Johoeaak was intended to be performed at royal inauguration ceremonies and various reception ceremonies for envoys with royal letters from China (e.g., jo 詔, go 誥, chik 勅, and seo 書). Consisting of 312 pieces, it was used in Hajeongnye in January 1430 for the first time. However, it is not clear exactly what pieces among the 312 were performed. Since January 1432, the use of Johoeaak, after two year's deliberation, expanded further not only to the morning gathering but to Hoerye right after the morning gathering. Hoeryeuiju was completed in 1432 after a two-year period of preparation since a draft in 1431 and a revision in September 1431. During Hoerye, aak was performed during the first half of the ritual and sokak for the second half, which reflects the King Sejong's determination that "hyangak should not be abolished for the sake of aak." The "Meaning of Hoeryeyon" in the treatise on Korean music, Akhakgyebeom, is identical with the petition filed by the Sangjeongso (a bureau temporarily installed to decide various matters on rituals) in September 1432. Johoeaak began to be used also as Yangnoyeonak since August 1432. Music for Yangnoyeonak was based on the music for Hoeryeak, but as Yangnoyeon is less elaborate than Hoeryeyeon, the number of musical pieces performed at the Yangnoyeon is smaller than that at the Hoeryeyeon. Similar to Hoeryeyeon, Yangnoyeon also employs aak for the first half of the banquet and dangak and hyangak for the second half. Yangnoyeonak is also recorded in Akhakgyebeom. Since late 1431, a distinction was drawn between Johoeaak used in rituals related to China and that related to Korea. For instance, in rituals related to China such as Manggyeollye, Yeongjochik, and Seongjeolharye, the king presided the events by lowering himself as the emperor's subject. Accordingly, music used for the rituals and banquets in related to China was Hwangjonggung and that in related to Korea Goseongung. The major reason to draw such a clear distinction between the two lay in the dictum that a king and a king's subject should be clearly distinguished. A musical solution to distinguish the two was the use of a different tone center for each.

분만시 모체 및 제대혈청의 총 LDH 및 LDH isoenzyme의 변동에 관한 연구

김기동,김기홍,정화순 한양대학교 의과대학 1982 한양의대 학술지 Vol.2 No.2

The placenta contains many kinds of enzymes in considerable amounts. It is probable that these enzymes are produced by the placenta and are released into the maternal circulation. The main isoenzyme in placenta is LDH₄, ??. This study was performed to investigate the effect of delivery on the maternal and cord serum GOT, GPT, LDH and its isoenzymes. The LDH activity has been determined by method of Cabaud-Wroblewski, and LDH isoenzyme was separated by electrophoresis. Followings are the results: 1) The mean maternal serum LDH activity during labor was 245±71.2 units, which was significantly higher than that of normal non-pregnant women of 223.0±56.0 units (P<0.05). 2) The mean LDH activity in cord serum was 448.4±146.1 units which was significantly higher than that of the maternal serum during labor (P<0.05), showing generally that the cord serum contained higher LDH activity than that if uts naterbak seryn, However, 3 cases of the maternal serum were found to contain higher LDH activity than that of respective serum, 2 of which being nuchal cord. 3) The Correlation between maternal and cord serum LDH activity was found (r=0.361) 4) When the compositions of the LDH isozymes of the serum obtained during labor were analyzed in terms of percent, and compared with that of the normal women, LDH? was elevated during labor, and LDH₂ was relatively decreased. 5) LDH₃, LDH₄ and LDH? in cord serum were higher than those of maternal serum during labor. Relatively LDH₁was significantly lower than that. 6) The mean GOT and GPT activities of maternal serum during labor were 20.7±6.2 units and 11.7±4.0 units, respectively, which were within normal range. 7) The mean GOT and GPT activities in cord serum were 33.7±15.7 units and 10.9±13.2 units, respectively, showing much higher GOT level than that of maternal serum during labor.

율려律呂와 한국 음악

정화순 예문동양사상연구원 2001 오늘의 동양사상 Vol.- No.4

악학궤범 당비파의 제도에 관한 연구

정화순 한국음악사학회 2007 韓國音樂史學報 Vol.38 No.-

In this study, the four-stringed lute (tang pip'a 唐琵琶) design described in Guide to the Study of Music (Akhak kwebŏm 『樂學軌範』) is examined. Also, the changes that occurred to that design are examined as well, through several sources such as the Five Rites (Orye 五禮) section of the Sejong sillok 『世宗實錄』, Introductory Rite (Sŏrye 序禮) of the Five Rites of the Nation (Kukcho oryeŭi 『國朝五禮儀』), and of course Akhak kwebŏm itself. From the number of frets (chu 柱) attached to the neck section and the body portion, and the position of such chu pieces, we can see that original features of the four-stringed lute (kokkyŏng pip'a 曲頸琵琶) as a musical instrument from the Ancient Iranian culture were still preserved in the design of Korean tang pip'a of the early Chosŏn dynasty, and that, as part of a variation, more than eight frets were newly added to the original body. Also, the tang pip'a described in Akhak kwebŏm had fewer frets compared to the instrument's description made in the Sejong sillok. Considering the fact that fret number 1 to 4 were used in playing tangak (music of Chinese origin), while the other 4 frets below were used in playing hyangak (native Korean music), we can see that the additional frets were added to the body portion to make it easier in playing hyangak or the new music 新樂) in p'yŏngjo 平調 and kyemyŏnjo 界面調 modes. This design remained the same until the Tablature Notation for Kŏmun'go (Kŭm hapchabo 『琴合字譜』: 1572) stage of the following periods. Considering all these original figures and changes, we can see that in order to successfully reproduce Korean tang pip'a today, we should base the design upon the original design featured in Akhak kwebŏm, yet also add more frets and position them appropriately in a fashion which would help the instrument create the right tones that would be required by today's new musical needs. 본 연구는 『악학궤범』 당비파의 제도에 초점을 맞추어 『세종실록』 「오례」로부터 『국조오례의』 「서례」를 거쳐 최종적으로 『악학궤범』에 이르기까지 그 변천 과정을 추적한 것이다. 특히 목부분과 몸체부분에 부착되어 있는 주(柱)의 수와 배치로 볼 때, 조선전기 한국 당비파에는 고대 이란계 4현 곡경비파의 원형이 보유되어 있으며, 그것을 토대로 몸체부분에 8개 이상의 주가 추가되었다는 점이 확인되었다. 또한 『악학궤범』 당비파의 주(柱)는 『세종실록』 「오례」의 그것에 비해 줄어들었는데, 제1~4주는 당악의 연주에 활용되었고, 향악의 연주에서는 주로 제4주 이하가 활용되었다는 사실로 볼 때, 몸체부분에 늘어난 주의 배치는 주로 당시 향악(鄕樂) 내지 신악(新樂)의 평조와 계면조 악곡을 연주하기 편하도록 배치되었음이 확인되었다. 그리고 그것은 후대의 『금합자보』까지 변함없이 유지되었다. 이러한 사실로 볼 때, 오늘날 한국 당비파가 발전적으로 재현되려면 『악학궤범』 당비파의 제도를 기반으로 하되 주의 수를 늘리는 한편, 그것들을 적합하게 배치함으로써 현재의 음악적 요구에 상응할 수 있도록 하여야 할 것이다.