조선전기 궁중정재의 박(拍) 운용 양상 - 『악학궤범』을 중심으로 - (Trends in Pak (拍) Usage in the Royal Court Dance (呈才) of the Early Chosŏn Dynasty - Focusing on Ak’ak kwebŏm (樂學軌範) -)

서지정보

· 발행기관 : 한국음악사학회
· 수록지 정보 : 한국음악사학보 / 72호 / 341 ~ 396페이지
· 저자명 : 하현주

초록

본 연구에서는 조선전기 궁중정재에서의 박 운용 양상에 관하여 검토하였다. 『악학궤범』 권4~5에 수록된 당악정재와 향악정재에서의 박 용법과 연출 내용을 살펴본바, 두 갈래의 정재에서 공통되는 박 용법이 나타나기도 하고 양식적인 특징에 따라 차별화되는 지점도 발견되었다. 먼저 정재의 반주 음악의 악작(樂作)ㆍ악지(樂止)를 지시하여 음악을 운영하고, 춤의 시작ㆍ춤의 대형ㆍ동작 변화 등을 지시하여 춤 전개를 진행하는 역할은 향ㆍ당악정재에서 동일하게 사용되었다. 또한 박을 쳐서[擊拍] 지시하는 방법 외에 박의 연주를 담당하는 집박 악사가 악공을 인솔하여 무대에 등장하고, 소품을 설치하는 등의 임무를 맡기도 하였다. 이 역시 향ㆍ당악정재의 공통적인 현상이며, 집박이 정재 연출과 관련한 주요 역할을 맡았다는 점이 주목된다. 내연에서는 이러한 역할을 여령(女伶)이 대신하였다.

영어초록

This study examined the usage trends of Pak (拍) in the royal court dance (chŏngjae, 呈才) of the early Chosŏn Dynasty. By analyzing the utilization and direction of Pak in both Tangak chŏngjae and Hyangak chŏngjae as documented in volumes 4 and 5 of “Ak’akkwebŏm”, both commonalities and differences were identified. In both types of chŏngjae, Pak was used to direct the accompanying music's beginning (Akchak, 樂作) and ending (Akchi, 樂止) and the progression of dance such as initiation, dance formations, and changes in movements. In addition to messaging instructions by striking the Pak, Chippak Aksa (執拍樂師, player of Pak) were responsible for leading the ensemble onto the stage and also arranging stage equipment. These were also commonalities between Tangak and Hyangak chŏngjae, and Yŏryŏng (女伶, female performer) replaced this role during court banquets for internal guests (內宴). It is noteworthy that Chippak Aksa played a major role in directing chŏngjae.
On the other hand, in Tangak chŏngjae, Pak played a significant role in signaling the entrance and exit of performers responsible for Kuho (口號) and Ch’iŏ (致語), as well as directing the Ch’angsa (唱詞). In other words, in the case of Tangak chŏngjae, due to its stylistic characteristics, the regularity of using the Pak in specific procedures or the proportion of the Pak is higher than that of Hyangak chŏngjae. In the case of Hyangak chŏngjae, the dance may be performed according to the Pak's flow of playing in addition to the directing by Chippak Aksa. This includes changing the formation, playing the dancing props (instrument), and finishing the chŏngjae process. This is a characteristic of Hyangak chŏngjae, which is not well observed in Tangak chŏngjae. While Tangak chŏngjae of the early Chosŏn show signs of adopting the style of Song (宋) Dynasty’s Taegok (大曲), which was accepted during the Koryŏ Dynasty, and the usage of Pak, Hyangak chŏngjae shows traces of adopting and further developing the usage of Pak from Tangak chŏngjae.
In summary, the study concludes that Pak performed a critical role in music operations in the early Chosŏn Dynasty, directing the music for chŏngjae, coordinating performer movements, and facilitating the performance proceedings of ceremonies, resembling the responsibilities of contemporary stage managers who provide cues during performances. Hence, it can be inferred that Chippak Aksa in royal court dance (chŏngjae, 呈才) fulfilled the role of stage directors, overseeing and directing the progression of performances.

참고자료

· 없음