양심당 조성의 생애와 음악관－詩․文을 중심으로－ (The Life and Musical Philosophy of Jo, Seong 養心堂 趙晟 －In relation to His Poetry and Essays－)

서지정보

· 발행기관 : 한국국악학회
· 수록지 정보 : 한국음악연구 / 47권 / 187 ~ 208페이지
· 저자명 : 양승경

초록

송씨이수삼산재본금보ㆍ남훈유보ㆍ인수금보ㆍ경대금보 등에 실려있는 조성보 만대엽을 통해 알려져 있는 조성에 대해서는 국악계뿐 아니라 국문학계 등 인문예술학부분에서도 충분히 다루어지지 않았다. 특히 현금동문류기에 조성과 안상의 금보가 실려 있는 점과 금보를 만든 인물에 대한 경이감이 본 논고를 정리 하게 된 이유이다. 조성에 대해 좀 더 자세히 알아보기 위해 조성의 문집인 양심당집을 비롯한 그 외 문헌 등을 통해 생애와 업적 그리고 그가 지녔던 음악적 사유를 고찰하였다.
조성은 거문고에 대한 조예가 깊었다. 탄금 속에 자신의 허물을 자책했고 음악적 체계를 세워 금보를 편찬하였다. 현금동문류기에 실린 조성의 금보와 안상의 금보에 나타난 거문고의 수법 내용이 동일한 점을 들어 당시 안상의 거문고 체계는 고종형 조성으로부터 전수되어 구체화되었음을 살펴볼 수 있었다. 또한 현전하는 거문고 악보로서 가장 오래된 악보는 안상의 금합자보로 알려져 있다. 그러나 조성의 생몰과 안상의 출생년도를 알아냄으로서 조성보가 단행본으로 되어있지 않을 뿐 안상금보 보다 앞서 만들어진 금보임을 밝혔다. 따라서 조성의 금보 이후에 출현한 금보들은 조성보에 나타난 거문고의 악보, 수법 등을 근간으로 해서 만들어졌다는 점을 알 수 있다.
구류의 학문에 능통한 조성은 만년에 유일로 천거되어 윤춘년·박민헌·정희문 등과 피폐해진 음악을 정리하고 왜곡 된 아악교정에 정념 하였다. 고종아우 안현과 함께 제례악에 사용할 종ㆍ경의 수리 및 종묘의 악을 정리하였다. 의술과 산술에도 밝았다. 음악적으로 뛰어난 조성은 장악원의 일을 담당해야 마땅함에도 기묘사화 후 현량과가 폐지되어 인재지성의 난관에 부딪친 관내의 실정으로 구류의 학문에 능통한 조성을 다방면으로 사용했던 것이다.
청정한 세계를 희구했던 조성의 표일한 기상은 혼탁한 세로에 대응하여 삼척에 불과한 거문고 속에 우주를 담았다. 스스로 가다듬은 우주의 이법을 거문고의 성률로 전환하여 탄금했고 이에 근간이 되는 금보를 남겼다. 따라서 조성의 금ㆍ시문 속에 공통적으로 나타나 일관적으로 추구해온 성리학의 심성론ㆍ수양론은 그의 음악관의 핵심으로 자리 잡고 있음을 알 수 있다.

영어초록

Jo, Seong, 趙晟 a pupil of Jo, Kwang-Jo 趙光祖 was a man of letters and a musician, based on neo-Confucian ideology, during the middle of Joseon Dynasty. He led a righteous life, upheld by aloof demeanor and neo-Confucian ideas within him. His views on worldly things and career advancement revealed in his works come not only from neo-Confucian philosophy but also from his virtuous character. Jo, Seong 趙晟 declined to pursue government career although he was offered a post of Cham-Bong 參奉 by special appointment in 1512 and even qualified as Chin-Sa 進士, passing a state examination in 1513. He returned home to SakNyeong 朔寧 in 1520 with his brother Jo, Uk 趙昱, putting behind any thought of worldly fame which he rejected out of disappointment in and reaction to, the turbid political reality of the day. While living in obscurity as a man in the street and suffering from illness, he absorbed himself in the search for enlightenment. He also educated young minds and busied himself in creative activities.
There are 87 poems and 8 essays by him. Of these, 4 poems and 1 essay deal with KeoMunGo and another essay treats on musical theories that explain and express his most dear thoughts on KeoMunGo. His poetry, prose and KeoMunGo eschew ostentation and flowery expressions but explore the ideas of the Heavenly Order 天理 and moral growth. Jo, Seong 趙晟 sought true delights of an immaculate spiritual world through his favorite KeoMunGo “YangShimGeum 養心琴.” In his poetry, Jo, Seong’s 趙晟 purity surfaces in clear contrast against the fetters and corruption of this world, emphasized by the use of such imageries as misty rain, winter moon, fresh bamboo, and dew drops. Jo, Seong’s 趙晟 inner thoughts transcendthis earthly world and naturally lead to development of his musical sensibilities. Jo’s musical world centers around neo-Confucian philosophy and amalgamated thoughts of Taoism and Buddhism that go beyond earthly right and wrong.


Lately KeoMunGo is considered the head of all musical instruments 百樂之丈. It is easy to see why, by reading Jo, Seong’s 趙晟 poetry where KeoMunGo is portrayed as a container to be replenished with ideas of personal integrity and of the Heavenly Order 天理. For example, Jo, Seong 趙晟 describes KeoMunGo as “poetry without sound (我琴久不彈, 正好無聲詩)”in his poem JaYongByeolJeong 玆用別定. He saw KeoMunGo as an instrument producing sounds beyond sound (“聽無聲”) as a vessel to express ideas of personal integrity and of the Heavenly Order 天理.
He explains that while KeoMunGo without strings as the essence 體 of being, shorn of trivialities 用, such KeoMunGo, at the same time, involves movement within stillness. Jo, Seong sought a pure simple life, indifferent to the earthly things, and attempted to express a universe within a 3-foot KeoMunGo. The Heavenly Order was translated into sounds of KeoMunGo when Jo, Seong played it. KeoMunGo scores he left behind follow such tenets. His ManDaeYeop is recorded in Jo, Seong’s GeumBo collectedin SongSsiISuSamSanJaeBonGeumBo 宋氏二水三山齎本琴譜, NamHunYooBo 南薰遺譜, InSuGeumBo 仁壽琴譜 and GyeonBukDaeGeumBo 慶北大琴譜. Over thirty different techniques are explained in YongBalChuiSeongJiDo 用撥取聲之圖 (“Diagram Showing How to Use Bamboo Stick to Pluck Sounds”) in his GeumBo, collated in HyeonGeumDongMunYuGi 玄琴東文類記. Also it systematically expounds on tuning, fingering, vibratoand pacing for KeoMunGo playing. Jo, Seong’s GeumBo also records a variety of signs and notations for GeoMungo techniques. These notations are created by combining straight lines, vertical and horizontal, and circles. One can see that their shapes reflect the harmony of Yin-Yang based on Neo-Confucian philosophy.
The neo-Confucian theories of SimSeong 心性 and SooYang 修養 take the central position in Jo, Seong’s 趙晟 philosophy which runs through in all of his poetry and writings on KeoMunGo. While KeoMunGo is considered as the vessel to keep and store the way of the true median 中正and to cultivate one’s mind 養心, the core of music is realization of true human mind 正人心 as the result of complete harmony between the Heavenly Order and humanity.
An, Sang’s 安瑺 ate of birth, up to now unknown, is now established in this essay to be 1511, the 6th year of King JungJong’s reign. Also it is shown here that An, Sang 安瑺published his KeonMunGo music in 1572, the 5th year of King SeonJo’s reign, or 17 years after Jo, Seong’s 趙晟 death. It, therefore, is certain that Jo, Seong’s 趙晟 KeoMunGo manuscript is the oldest surviving KeoMunGo scores, though not in a printed form and in the form of manuscript.

참고자료

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