This study aims to examine the development aspect of how Yeoak(Musical performance by female musicians) in King Yeonsangun’s Reign was changed and expanded while going through Muosahwa and Gapjasahwa. For this, this study considered the development aspect of Yeoak expansionary policy in King Yeonsangun’s Reign, focusing on the name change and increase in the number of Gi, Ginyeo, and Yeogi(Female entertainer), the Seven Wons & Three Gaks System, production and collection of instruments, and the alteration of movements.
In the background of Yeoak expansionary policy in King Yeonsangun’s Reign, on the basis of Muosahwa, this study divided it into the disapproval of Saak(banquet presented by the king) before Muosahwa, and the matter of using Yeoak after Muosahwa. Before Muosahwa, King Yeonsangun relatively-carefully behaved himself in the early stage of his reign as he was compared with the peaceful times of the preceding kings, so that the matter of using Yeoak was not rising as an issue. By combining the official promotion of Gongsin(meritorious retainers) and the problems by natural disaster, the Saak was disapproved. After Muosahwa, there were discussions on the matter of using Yeoak. As the King Yeonsangun’s warning to Daegans was reflected into the matter of using Yeoak, however, it was just discussed several times after Muosahwa, without being highlighted as a major issue.
The names like Gi, Ginyeo, and Yeogi were continuously used till before Gapjasahwa, and then they were changed to Heungcheong and Unpyeong after Gapjasahwa. Such Heungcheong and Unpyeong were not only general terms of Yeogi, but also the name of music in King Yeonsangun’s Reign. Heungcheong was the one with beauty of female musicians with the best talent in Unpyeong. Gaheungcheong was selected from Unpyeong, and could be promoted to Heungcheong again. As the ones who were allowed to enter the king’s palace, Hengcheong included Gaheungcheong, Gyepyeong, Sokhong, Buhwa, and Heupryeo. Besides the names of Gi, Ginyeo, and Yeogi, the names of Akgong(court musician), Aksaeng(musician), Aksa(musician), and other public post names of Jangakwon were also changed, which partially contributed to the great expansion of Yeoak scale mobilized for banquets of King Yeonsangun.
King Yeonsangun did not hold banquets recklessly by mobilizing Gi, Ginyeo, and Yeogi right from the beginning. The early political situation in King Yeonsangun’s Reign before Muosahwa was not much changed from the political situation in King Seongjong’s Reign, so that the court banquets were performed as recorded in 『Gyeongguk Daejeon』. After Muosahwa, the number of female musicians for Yeoak was increased to 300 people through the banquet for Japanese envoys. Also, from the time around Gapjasahwa to the moment of his dethronement, the scale of Gi, Ginyeo, and Yeogi was expanded to nationwide. According to King Yeonsangun, the public/private slaves were public objects, owned by the king, and Yeogis were not allowed to be a concubine as they were the pubic objects used for state banquets. Also, the people who hided and kept Gi, Ginyeo, and Yeogi were uncovered and punished.
After Muosahwa, hundreds of Gi, Ginyeo, and Yeogi were increased while thousands of them were increased after Gapjasahwa. In order to manage/supervise the increased number of Gi, Ginyeo, Yeogi, Unpyeong, and Heungcheong, there should be an organization besides Jangakwon. And the organization called Seven Wons & Three Gaks was installed. The Seven Wons included Yeonbangwon, Chuihongwon, Chuichunwon, Hambangwon, Jinhyangwon, Noiyeongwon, Jipramwon, and the Three Gaks included Chaehagak, Hoisagak, and Cheonghwangak.
Regarding the production of instruments in King Yeonsangun’s Reign, numerous banquet instruments were produced for about two years starting from Muosahwa and from the 10th year of King Yeonsangun’s Reign after Gapjasahwa. Around the time before/after Muosahwa, the musical instruments were produced by Jangakwon, and there was a temporary case of producing instruments in Sanguiwon. Initially starting from the work of repairing damaged instruments after Gapjasahwa, as the number of persons for banquets was increased to around 1,000, more than total 300 instruments were produced on two separate occasions to meet the demand in the 11th-12th year of King Yeonsangun’s Reign. Also, to meet the increased number of persons for banquets, the materials for instruments were collected. On top of an action to supply the production people, some instruments were alloted to each province as offering.
The alteration of movements in King Yeonsangun’s Reign was shown in the meaning of ‘Washing out viciousness’after Gapjasahwa. At this time, the viciousness meant Lee, Se-Jwa and Hong, Gui-Dal who were the momentum of Gapjasahwa. The movements might be altered in the intention to create the movement praising the achievements of Gapjasahwa and the piping times of peace after that. As any kinds of musical melodies could be used for the well-established movement, King Yeonsangun had his own solid view on movement such as what melody would go well with this movement. As most of the alteration of movements in King Yeonsangun’s Reign was performed after Gapjasahwa, the major purpose of it seemed to reveal the achievement of eradicating the viciousness by using the official character of movement.
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