둑제(纛祭)의 음악사적 고찰 (A Study on Dukje Ritual Historico-Musicological Consideration)

서지정보

· 발행기관 : 민족음악학회
· 수록지 정보 : 음악과 현실 / 38호 / 22 ~ 47페이지
· 저자명 : 김성혜

초록

Dukje is a ritual for dukgi which symbolizes the “god of War” or “King”. Music and dance were also performed in dukje ritual. In this paper, I examine the music-historical aspects and meaning of music and dance of dukje.
First, I examine the meaning and the origin of duk and takes a close look at music and dance at dukje ritual procedure. As a result, the tradition of dukgi can be traced back to Silla period and dukje, as a ritual, have started in 1281 of Goreyo dynasty. Dukje of Goryreo has transmitted to Joseon dynasty and continued to Daehan Empire, however it was not continued to perform during the Japanese colonial period after 1910.
Musical repertoires including “Napssiga” and “Jeongdongbanggok” were performed in dukje. “Napssiga” is a praise song for King Taejo Yi Sung-gye of Joseon and its texts praise his success over the general Nahachu of Yuan. As one of the currently existing court musics “Jeongdongbanggok” praises Yi Sung-gye's Wihado retreat.
Since both repertoires are music for military achievement, these two were selected for dukje, symbolizing military god. It is meaningful that these repertoires also have survived because of dukje ritual. Especially “Napssiga” borrowed the melodies from “Cheongsanbyeolgok” of Goryeo gayo, popular songs. “Jeongdongbanggok” also borrowed the melodies from “Seogyeongbyeolgok” of Goryeo gayo. In this respect, it is quite rare these pieces have included melodies of Goryeo gayo.
Composed in 1393 during the foundation of Joseon, two pieces have performed over about 500 years until 1908. “Napssiga” has disappeared during Japanese colonial period and “Jeongdongbanggok” only remained instrumental version.
Dances of dukje include “Gancheokmu” “Gongsimu” and “Changgeommu” composed in 1440 (the 22nd year of King Sejong), these dances have later directly influenced to “Jeongdaeopmu”.
Music and dances of dukje have not been importantly considered compared to other ritual music and dance including “Jongmyojeryeak” “Munmyojeryeak” “Gyeonmogung jeryeak” and “Gwanakmoak”. Dukje should be properly evaluated as this paper finds that the status of dukje was higher than munmyo ritual of early Joseon, and later became the model for jongmyo ritual music and dance.

영어초록

Dukje is a ritual for dukgi which symbolizes the “god of War” or “King”. Music and dance were also performed in dukje ritual. In this paper, I examine the music-historical aspects and meaning of music and dance of dukje.
First, I examine the meaning and the origin of duk and takes a close look at music and dance at dukje ritual procedure. As a result, the tradition of dukgi can be traced back to Silla period and dukje, as a ritual, have started in 1281 of Goreyo dynasty. Dukje of Goryreo has transmitted to Joseon dynasty and continued to Daehan Empire, however it was not continued to perform during the Japanese colonial period after 1910.
Musical repertoires including “Napssiga” and “Jeongdongbanggok” were performed in dukje. “Napssiga” is a praise song for King Taejo Yi Sung-gye of Joseon and its texts praise his success over the general Nahachu of Yuan. As one of the currently existing court musics “Jeongdongbanggok” praises Yi Sung-gye's Wihado retreat.
Since both repertoires are music for military achievement, these two were selected for dukje, symbolizing military god. It is meaningful that these repertoires also have survived because of dukje ritual. Especially “Napssiga” borrowed the melodies from “Cheongsanbyeolgok” of Goryeo gayo, popular songs. “Jeongdongbanggok” also borrowed the melodies from “Seogyeongbyeolgok” of Goryeo gayo. In this respect, it is quite rare these pieces have included melodies of Goryeo gayo.
Composed in 1393 during the foundation of Joseon, two pieces have performed over about 500 years until 1908. “Napssiga” has disappeared during Japanese colonial period and “Jeongdongbanggok” only remained instrumental version.
Dances of dukje include “Gancheokmu” “Gongsimu” and “Changgeommu” composed in 1440 (the 22nd year of King Sejong), these dances have later directly influenced to “Jeongdaeopmu”.
Music and dances of dukje have not been importantly considered compared to other ritual music and dance including “Jongmyojeryeak” “Munmyojeryeak” “Gyeonmogung jeryeak” and “Gwanakmoak”. Dukje should be properly evaluated as this paper finds that the status of dukje was higher than munmyo ritual of early Joseon, and later became the model for jongmyo ritual music and dance.

참고자료

· 없음