중국 음악 문화와 고금(古琴) 기보법에서 살펴본 『東國正韻』 한자음 ‘ㅭ’·‘ㅱ’의 결합 원리 小考 (A Research into the Special Characteristics of the Chinese Characters in the Donggukjungwoon through the Music score of the Chinese Musical Instrument Gǔqín - Focusing on the Combination of the Princi)

서지정보

· 발행기관 : 전남대학교 인문학연구소
· 수록지 정보 : 용봉인문논총 / 58호 / 137 ~ 166페이지
· 저자명 : 문성호

초록

본고에서는 『동국정운(東國正韻)』에서 한어 중고음의 입성 운미 [-t]와 음성 운미 [-w(u)]의 표기를 위해, 종성에서 각각 ‘ㆆ’과 ‘ㅱ’을 연이어 결합하고 있는 원리에 대해 고금(古琴)의 기보인 감자보(減字譜)에서 그 유사성을 살펴봤다. 단순히 절운계 운서의 입성 운미 [-t]를 표기하고자 했다면 종성에 ‘ㄷ’을 사용하면 그만이지만, ‘ㄹ’과 ‘ㆆ’의 결합으로 표기한 것은 우리 한자음의 속습을 바탕으로 정음을 드러내고 있는 것이라 해석할 수 있다.
『동국정운』 한자음의 ‘質(지ᇙ)’을 예로 들면 ‘지ᇙ’이라는 하나의 표기로 ‘질’과 ‘짇’ 두 개의 한자음을 동시에 표기하고 있는데, 이러한 결합 원리는 고금의 감자보에서 유사성을 찾아볼 수 있다. 이는 순경음 ‘ㅱ’의 결합에 있어서도 마찬가지로 작용한다.

영어초록

Donggukjungwoon(東國正韻) deals with Hunminjeongeum (訓民正音: Original name of Hangeul) and happens to be the very first rhyme book in Korea completed in 1447 which dictates the phonetic notations. It is possible to confirm how the Hunminjeongeum was used when it was first created within the Donggukjungwoon so the value of the book is as important as the Hunminjeongeum (Haeryebon edition) but the Donggukjungwoon does not appear to be esteemed in quite the same degree as the eponymous book. One reason that can be given for this phenomenon is the fact that it doesn’t confer the sounds of the Chinese characters in the Korean sounds as it is but that it bases the rectification upon the principles of Chinese phonology.
In this paper, attempts have been made as to why the four tones and seven sounds and the qīngyīn(淸/clear) and zhuóyīn(濁/unclear) sounds found within the Donggukjungwoon have been given the phonetic notations as they are in the past based especially on the gǔqín music cultural realm within the traditional music philosophy. In addition, the principles of how the terminal sounds of Korean Chinese characters are formed by using the ‘ㅭ’ and ‘ㅱ’ sounds respectively in the Donggukjungwoon were investigated for the purpose of recording the [-t] which is a rùshēng yùnwěi (入声韻尾) and [-w(u)] which is a yīnshēng yùnwěi (音聲韻尾) of the ancient Chinese sounds. Both King Sejong, who supervised the creative process of the Donggukjungwoon, and King Sejo, who oversaw the project in continuation, were both well versed almost to a professional level in the musical field and were also able to play the gǔqín proficiently. At the same time, they both had experiences of modifying the music scores. Based on this fact, the principles of the combination of the terminal sounds ‘ㅭ’ and ‘ㅱ’ were also investigated by looking through the Jiǎnzìpǔ(減字譜) which is a representative music score for the gǔqín.

참고자료

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