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In this article, I would like to examine the impact of Jeong Ryeom's So(嘯) on Toist music. We are here concerned with the key aspects of Taoist music, most of us would accept that Toist music of Jeong Ryeom has never been studied so far. Above all, little is known about So that is a kind of Taoist folkloric music, which has a deep connection with the bamboo-flute' Gu-eum(口音) in Goryeo dynasty. It is said that anecdotes of Jeong Ryeom as the greatest inner-alchemist in Choseon. However, there seems to be no established theory to explain his Taoist music.
The fist thing we notices is that there is a correlation between the Korean folkloric music of Gu-eum and Taoist music So, which is the song without words. This now raises the question of how we perceive Goryeo-Songs's Seon-eo(仙語) that I consider its as Toist songs. I have discussed in this paper that Seon-eo is a vocal music, without words. We see, therefore, that the link between Goryeo- Songs's Seon-eo and the Korean folkloric music is illustrated, because of the feature that Taoist music So is performed by a traditional Taoist, the traces of So is partly reflected in the bamboo- flute' Gu-eum, which resembles to Seon-eo in Goryeo-Songs. Furthermore, a traditional Taoist ritual music Poheoja(步虛子), which is used principally for making Taoist magic, and performs as dancing music in court ceremonies, is concerned with the origin of Gu-eum in Choseon dynasty. The most noteworthy point is that Poheoja is essentially related to Seon-eo in Goryeo dynasty. Consequently, it seems to be that Jeong Reom's So is derived from Gu-eum or Seon-eo in Goryeo dynasty. Of course, we can not say that Jeong Reom's So, which performs in Geom-Gang-San, and Go-ryeo's Gu-eum are the same.
Based on all these facts, It is presumed that Jeong Ryeom's So is a kind of Taoist folkloric music, which is disappeared in China area. It is, above all, important to note that his So is reemerged from Choseon Taoist history. In the case of China, a few dacuments of Taoist music So remain in the words of songs of Chuan-Chen Taoism(全眞敎), but the other records of its are unknown after Sung dynasty. In the light of this result, his contribution counted heavily. That is, the presence of Jeong Ryeom's So in Choseon dynasty is not only problem in the history of Korean taditional music, but also in the history of religious Taoism.
The fist thing we notices is that there is a correlation between the Korean folkloric music of Gu-eum and Taoist music So, which is the song without words. This now raises the question of how we perceive Goryeo-Songs's Seon-eo(仙語) that I consider its as Toist songs. I have discussed in this paper that Seon-eo is a vocal music, without words. We see, therefore, that the link between Goryeo- Songs's Seon-eo and the Korean folkloric music is illustrated, because of the feature that Taoist music So is performed by a traditional Taoist, the traces of So is partly reflected in the bamboo- flute' Gu-eum, which resembles to Seon-eo in Goryeo-Songs. Furthermore, a traditional Taoist ritual music Poheoja(步虛子), which is used principally for making Taoist magic, and performs as dancing music in court ceremonies, is concerned with the origin of Gu-eum in Choseon dynasty. The most noteworthy point is that Poheoja is essentially related to Seon-eo in Goryeo dynasty. Consequently, it seems to be that Jeong Reom's So is derived from Gu-eum or Seon-eo in Goryeo dynasty. Of course, we can not say that Jeong Reom's So, which performs in Geom-Gang-San, and Go-ryeo's Gu-eum are the same.
Based on all these facts, It is presumed that Jeong Ryeom's So is a kind of Taoist folkloric music, which is disappeared in China area. It is, above all, important to note that his So is reemerged from Choseon Taoist history. In the case of China, a few dacuments of Taoist music So remain in the words of songs of Chuan-Chen Taoism(全眞敎), but the other records of its are unknown after Sung dynasty. In the light of this result, his contribution counted heavily. That is, the presence of Jeong Ryeom's So in Choseon dynasty is not only problem in the history of Korean taditional music, but also in the history of religious Taoism.
목차
Ⅰ. 문제 제기
Ⅱ. 고대 도교음악으로서의 소가(嘯歌)
Ⅲ. 고려노래 선어(仙語)와 구음(口音)의 전통
Ⅳ. 북창 소가(嘯歌)의 도교적 이해
Ⅴ. 남은 문제
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