世宗大王의 文化事業中 樂整理考 (上) = A Study on the Adjustment Work of Music by King Se-Jong

다국어 초록 (Multilingual Abstract)

Ⅰ. It is a too well known fact not only in this country but also to the world that the Korean letter (alphabet) was invented in King Se-Jong's reign of culture. so, it seems that "Se-Jong" means "han-geul", the Korean alphabet, and "han-geul", represents all the oultural activities of Se-Jong.
But, on the contrary, his achievement in culture was not confined to "han-geul"only, as illustrated in the books: "A study on the Culture at the Jip Hyun Jon (national academy at that time)" by Lee Kwang-Rin, and "Se-Jong's Welfare work and the Independent Medical Develapment" by Kim Du-Jong. Another field in which he made a great success was music, which has not been so well known generally.
Let us take an example in making of the "Kyung", as musical instrument made of stone, among so many others he made. He employed 130 artisans for 5 years to make 526 pieces of the "Kyung".
If you allow men to each artisan and pay 1,000 whan (Korean money) per day in average to each worker, you will get a surprising account as follows:
Total days: 1,800
Number of workers: 520
Number of day's work: 936,000
Total wage: 936,000,000 Whan
If it includes expenses of making the costumes and other musical instruments, it will be a tremendous amount.
With this fact alone, it is not hard to see how important the business was. Considering that nowadays some bitter arguments are aften raised on building a hall on the ground that it will cost a big amount of money say, several hundred million whan, to make musical instruments even at a cost below ape hundred million would be unimaginable thing, though the present conditions are different from those of that time.
That this undertaking had almost continuously been under discussion for 31 years shows that it was quite a singular task that could not be found in any other history in the world.
In this pespect, here I made an adjustment on some materials
I have collected through years with a feeling that it might be helpful for the students to know how such a great work was performed, though I am not a music student myself.
Ⅱ. Favorable conditions for the work what were the conditions that made this great work continue for so many years and completion of the musical insturument pessible?
1. Agreeable conbfition of the time
It was a time of peace as Se-Jong said, There was nothing within or without that could hinder his business.
2. Being not only a great schoar at that time well versed in philosophy, language, and music, but also an artist who could compose, he could aim at this business and push it through without any change.
3. Being an autocrat with an absolute power, he could mobilize men and materials as he wished.
4. He could with a great effeciency run the national academy, aresearch institution of arts and seience, that could be a theoretical foundation, and the ritual organ, the highest inquiry council composed of his able ministers.
5. The formation of the staff
There were the top theorists such as whang Hi, Many Sa-Song, Chong In-Chi, Hur Cho, Shin Sang, Kwan Chin,Chong Cho,Yu Sa-Yul,Shin Chang, Kwon Do,Yaun Choon, Kim Ja-Chi, and Kim Jong-Su; and there were also men of both theoryand art such as park Yen, Nam Keup, anp Chong Yang with this perfect personnel administration, he could complete his work.
6. Using broomcorn millet as a material for tune adjustor, and "Mi-suk", a stone, in making the "Kyung" brought perfection to the work. This needs a special mention.
As we saw in the above, it was quite a natural thing for Se-Jong to accomplish the adjustment work of music under such agreeable conditions. No supermatural power of him or anymystery was involved in this work.
It there is anything we can praise him for, that is only his resolution unchangeable like a rock:
"Creation in itself is a hard thing.
If theking wants to do it, his ministers object it if ministers want to do it, king objects it; and if both king and the ministers want to do it, then the luck prevents it.
Now that peace is with us at home and I have already made up my mind, only thing left to us is to combine our strength and sincerity to the full extent".

목차 (Table of Contents)

• 敍言
• Ⅰ. 槪況
• 1. 動機와 目的
• 2. 整理可能의 諸條件
• 3. 時期
• Ⅱ. 整理狀況
• 1. 律管
• 2. 登歌와 軒架
• 3. 樂器
• ① 第1期
• ② 第2期
• ③ 第3期
• ④ 第4期
• ⑤ 第5期
• ⑥ 第6期
• 4. 樂工
• ① 身分
• ② 待遇
• ③ 定員
• ④ 肆習狀況과 充用對策
• 5. 管絃盲
• 6. 冠服
• 7. 舞
• ① 文武舞
• ② 呈才舞 (以上 本號 揭載)
• 8. 祭享樂
• ① 基本音設定
• ② 迎送神樂
• ③ 樂曲名制定
• ④ 節目制定
• 9. 宴享樂
• ① 朝賀樂
• ② 會禮樂
• ③ 望闕禮
• ④ 養老宴樂
• ⑤ 使臣樂
• ⑥ 其他 禮宴樂
• 10. 擧動樂
• 11. 樂章과 歌曲
• ① 祭樂章
• ② 宴享樂歌와 樂曲
• ③ 佛歌
• ④ 樂譜
• 12. 女樂과 舞童
• 13. 其他 雜禮樂
• 14. 結論
• (以上 次號 揭載)