지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Since present court dances at the Kungnip Kugagw?n 國立國樂院 (NCKTPA: National Center for Korean Traditional Performing Arts) include dance and its accompanying music, the subject of court dance and its accompanying music has attracted considerable attention both in the academic circle of Korean dance studies and in the field of Korean musicology. Although an outstanding work. Han'guk ch?nt'ong mumyong y?n'gu 『韓國傅統無踊硏究』 (Studies in Korean Traditional Dance) by a Korean musicologist Chang Sa-hun, was published in 1977, we still have enough problems of accompanying music for court dance to be solved. This study aims therefore at investigating the w?nmugok 原舞曲, accompanying music for court dance. which appears in several official documents of the eighteenth and nineteenth-centuries sources.
This study is based upon such official documents of court banquet as Chiny?n ?igwe 『進宴儀軌』 (1719, 1744 and 1901), Ch?ngni ?igwe 『整理儀軌』 (1795), Chinjak ?gwe 『進宴儀軌』 (1828), Chinch'an ?igwe 『進宴儀軌』 (1829 and 1848), and Ch?ngjae mudo holgi 『呈才舞圖笏記』(1901). The study includes such topics as 1) Introduction. 2) Investigation of Accompanying Music for Court Dance in the Late Ch?sen Period, 3) Comparison of W?ngmugok in Chiny?n ?igwe (1901) with Accompanying Music in Ch?ngjae mudo holgi, 4) Historical Transition of W?ngmugok in the Nineteenth Century, 5) Conclusion.
In light of an extensive investigation of w?nmugok, literally meaning ‘piece originally for dance.’ it is said that the term w?nmueok was not used before the reign of King Sunjo (1800-1834), but that the term w?nmugok was used as a pronoun for dance accompanying music since 1829.
In conclusion, it is mentioned that the w?nmugok of 1829 was used as a pronoun to include such four accompanying pieces as Poh?ja 步虛子, Y?millak man 與民樂慢, Ch?ng?p man'gi 井邑慢機, and Hyangdang kyoju 鄕唐交奏, whereas the w?nmugok of 1901 as a pronoun to include such five accompanying pieces of Kyerek 界樂, Pob?ie ry?ng 步虛子令, Y?millsk ry?ng 與民樂令, Ch?ng?p man'gi, and Hyengdeng kyoju. The five accompanying pieces of 1901 have been handed down at the present NCKTPA through Yiwangjik aakpu 李王職雅樂部 (Royal Conservatory of the Yi Household) during the Japanese colonial period (1910-1945).
Kyersk is a piece of kegok 歌曲 (long lyric song) known as Menny?n changhwan chigok 萬年長歡之曲 in its elegant name, while Hyengdsnd kyoju is historically related with the first piece, Sangy?ngsan 上靈山, of the present Kwanak Yonssen hoesang 管樂靈山會相(wind version of Y?ngsen hoesang). Y?millak ry?ng has been transmitted to the present Polly?ng 本令 called T'eep'vonech'un chieok 太平春之曲 in its elegant name, whereas Poh?ja ry?ng to the present Changch'un pullo chigok 長春不老之曲, and Ch?ng?p to the present Sujech'?n 壽薺天.
This study is based upon such official documents of court banquet as Chiny?n ?igwe 『進宴儀軌』 (1719, 1744 and 1901), Ch?ngni ?igwe 『整理儀軌』 (1795), Chinjak ?gwe 『進宴儀軌』 (1828), Chinch'an ?igwe 『進宴儀軌』 (1829 and 1848), and Ch?ngjae mudo holgi 『呈才舞圖笏記』(1901). The study includes such topics as 1) Introduction. 2) Investigation of Accompanying Music for Court Dance in the Late Ch?sen Period, 3) Comparison of W?ngmugok in Chiny?n ?igwe (1901) with Accompanying Music in Ch?ngjae mudo holgi, 4) Historical Transition of W?ngmugok in the Nineteenth Century, 5) Conclusion.
In light of an extensive investigation of w?nmugok, literally meaning ‘piece originally for dance.’ it is said that the term w?nmueok was not used before the reign of King Sunjo (1800-1834), but that the term w?nmugok was used as a pronoun for dance accompanying music since 1829.
In conclusion, it is mentioned that the w?nmugok of 1829 was used as a pronoun to include such four accompanying pieces as Poh?ja 步虛子, Y?millak man 與民樂慢, Ch?ng?p man'gi 井邑慢機, and Hyangdang kyoju 鄕唐交奏, whereas the w?nmugok of 1901 as a pronoun to include such five accompanying pieces of Kyerek 界樂, Pob?ie ry?ng 步虛子令, Y?millsk ry?ng 與民樂令, Ch?ng?p man'gi, and Hyengdeng kyoju. The five accompanying pieces of 1901 have been handed down at the present NCKTPA through Yiwangjik aakpu 李王職雅樂部 (Royal Conservatory of the Yi Household) during the Japanese colonial period (1910-1945).
Kyersk is a piece of kegok 歌曲 (long lyric song) known as Menny?n changhwan chigok 萬年長歡之曲 in its elegant name, while Hyengdsnd kyoju is historically related with the first piece, Sangy?ngsan 上靈山, of the present Kwanak Yonssen hoesang 管樂靈山會相(wind version of Y?ngsen hoesang). Y?millak ry?ng has been transmitted to the present Polly?ng 本令 called T'eep'vonech'un chieok 太平春之曲 in its elegant name, whereas Poh?ja ry?ng to the present Changch'un pullo chigok 長春不老之曲, and Ch?ng?p to the present Sujech'?n 壽薺天.
목차
1. 머리말: 현행 정재 반주곡의 뿌리찾기 시론
2. 조선후기 여러 의궤에 나오는 정재 반주곡 검토
3. 『진연의궤』(1901)의 원무곡과 『정재무도홀기』 소재 반주곡의 비교고찰
4. 19세기 원무곡의 역사적 변천
5. 맺는말: 현행 궁중음악의 뿌리를 찾아서
〈영문초록〉
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
朝鮮後期 궁중잔치와 관련된 唐樂曲 照明 : 『조선왕조실록』ㆍ의궤ㆍ홀기를 중심으로
한국악기학
2007 .12
-
朝鮮後期 呈才춤동작 分布現況 - 『呈才舞圖笏記』를 중심으로 -
무용예술학연구
2006 .01
-
영성제(靈星祭) 복원을 위한 무동복식 고증
한복문화
2016 .02
-
조선왕조 정재여령의 공연예술사적 조명 - 조선후기 의궤를 중심으로 -
한국예술연구
2020 .03
-
朝鮮後期 繪畵에 미친 中國의 영향
미술사학연구(구 고고미술)
1995 .06
-
朝鮮時代 後期 白磁의 새로운 傾向
미술사학연구(구 고고미술)
1989 .09
-
朝鮮 後期 白磁의 製作技術 硏究
미술사학연구(구 고고미술)
1997 .06
-
Elegant
한국디자인학회 국제초대전도록
2019 .06
-
우리 궁중공연예술의 꽃, 정재(呈才)의 역사적 접근: 손선숙. 한국궁중무용사. 서울: 보고사, 2017
국악원논문집
2017 .01
-
무용수의 정재(呈才) 경험에 대한 현상학적 접근
대한무용학회논문집
2006 .01
-
조선왕조(朝鮮王朝) 정재(呈才) 및 정재사료(呈才史料)의 서설(序說)
국악원논문집
2013 .01
-
朝鮮後期 四天王像에 대한 考察
미술사학연구(구 고고미술)
1994 .06
-
조선 중·후기 문화정책 변화와 정재 연희종목 양상 연구
무용예술학연구
2007 .01
-
조선말~일제강점기 궁중정재의 전승과 재현-연행종목과 반주음악을 중심으로-
국악원논문집
2011 .01
-
조선왕조가 가꾼 기록유산의 꽃, 의궤(儀軌): 譯註己巳進表裏進饌儀軌 서울: 국립국악원, 2018.
국악원논문집
2018 .01
-
궁중정재의 시대적 변천에 따른 철학성 탐색
움직임의 철학: 한국체육철학회지
2007 .06
-
김천흥과 <조선무악>을 통한 국립국악원의 무용복원 연구
무용역사기록학
2017 .01
-
의궤를 통해서 본 조선시대의 화원
미술사연구
1995 .12
-
궁중정재의 정체성 탐구
우리춤과 과학기술
2007 .01
-
朝鮮後期 後佛木刻幀 硏究
미술사학연구(구 고고미술)
1996 .03
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-679-016589959