한국과 일본의 전통실내악 비교 - 줄풍류·가곡과 산쿄쿠(三曲)를 중심으로 -

초록

This paper compares julpungryu and gagok, representing Korean jeongak 正樂, with Japanese sankyoku ensemble 三曲. It aims to describe the differences as well as similarities between the two countries’ traditional chamber music. Historically jeongak and sankyoku are similar in the sense that both music were patronized and developed by the prosperous middle-class in respective countries. Furthermore, youngsanhoesang, gagok and sankyoku share the same time period of origin, namely the seventeenth century. The instrumentation of youngsanhoesang and gagok consists of goemungo, gayaguem, piri, deaguem, heaguem and janggu. That of sankyoku consists of either koto, shamisen and shakuhachi or koto, shamisen and kokyu. In comparative perspective, gayagum is similar to koto, goemungo to shamisen, heaguem to kokyu, and deaguem to shakuhachi. In sum, except piri and janggu, the instrumentations of youngsanhoesang and sankyoku are quite similar. Originally people enjoyed jeongak as chamber music and sankyoku as private music. In other words, these music were intended for private and exclusive audiences rather than public or open stages. They were not simply to be enjoyed but also to be learned for one’s character building and moral cultivation. The similarity between jeongak and sankyoku extends to their ethical view and fundamental spirit. The spirit of jeongak’s hwa-i-bu-dong 和而不同 and that of sankyoku’s hwa 和 are comparable in the sense that they both emphasize on equality and harmony. The musical texture of youngsanhoesang and sankyoku is characterized by its heterophonic structure. The heterophonic melodies exist independently from one another, different parts performing the same tune at the same time, and yet creating a certain harmony. In respect to musical structure, this paper compares youngsanhoesang with sankyoku (dan mono) and gagok with sankyoku (tegoto mono). In the first case, youngsanhoesang and sankyoku, both show similarity in their small size instrumental chamber music, consisting of string and wind instruments. Another common characteristic is that both start very slowly, gradually moving faster. Only the first movement is original melody and the rest are its variations. In the second case, gagok and sankyoku, both are similar in their vocal chamber music, string and wind instruments playing accompaniment. Their structures are in the order of prelude, song, interlude, and song. On instruments, this paper compares gayaguem with koto, goemungo with shamisen, heaguem with kokyu, and deaguem with shakuhachi. These instruments are similar in their structure, material, playing technique, tuning, and role in ensemble. The purpose of this paper is to compare the traditional chamber music of Korea and Japan. Originating in two different countries, the two musical traditions show interesting similarities. These results of my research encourage further comparative study not only on Korea and Japan but also on China. In conclusion, it can be, therefore, hypothesized that certain universality exists among the traditional chamber music of the three countries in East Asia.

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