『삼오요록』과 『인지요록』의 고려악 연구 -고려일월조를 중심으로-

초록

Komagaku originates from the music of Goguryeo, Baekje, and Silla Dynasty, being introduced to Japan since the fifth Century. It exists in a unified form and carries its significance in Japanese court music until today. Despite the importance of Komagaku, there has been virtually no serious study on the subject and its unique features both in Korea and Japan. The present paper, therefore, attempts to investigate Komagaku’s main characteristics, thereby explaining its musical significance. For the purpose, the research is based on the analysis of the lute, biwa, score Sangoyoroku and the goto, zither, score Jinchiyoroku from the Twelfth Century, focusing on Koma-Ichikotsucho consisting of thirty pieces. Closely examining the tuning and tones composing the music of biwa and goto, one finds that Koma-Ichikotsucho is composed of seven－tone scale, comparable to Chinese sang scale. While taiko plays the first measure of rhythm circle in Komagaku’s Yo-hyoshi, taiko plays the third measure of rhythm circle in Togaku’s Yo-hyoshi, thus differentiating the two in the position of accent. In this respect, Komagaku is similar to playing the first measure of rhythm in Chwago’s Jangdan. This characteristic of Korean music clearly distinguishes itself from the rhythm pattern of Chinese music. In order to analyze the thirty pieces of Koma-Ichikotsucho, it was necessary to transcribe them into five staff notation. These transcriptions were then examined based on the following categories: continuity, ornamentation, and progression of the tones. The results indicate that gung(e) and chi(b) of seven tone have strong tendency for continuity of high tone compared to those of five byonchi(a) and byongung(d), which are tones of high ornamentation. Each tone hardly ever jumps fourth or fifth degree but rather makes a gradual progression such as to the next one.