東國正韻 喉音의 ‘청⋅탁’ 연구 －초분절 자질의 관점에서－ (A Research on the guttural consonants of the Qīngyīn(淸/clear) and Zhuóyīn(濁/unclear) Sounds of the Donggukjungwoon －From a Hyper Segmental Phonemic Perspective－)

서지정보

· 발행기관 : 중국학연구회
· 수록지 정보 : 중국학연구 / 96호 / 1 ~ 45페이지
· 저자명 : 김서영, 문성호, 김민경, 안영실, 이길경

초록

청⋅탁은 樂記에서부터 사용되었던 음악 용어였고, 전통적으로 음운학에서도 淸은 고음, 濁은 저음을 가리키는 것이 통설로 되어있었다고 한다. 淸代의 江永이 音學辨微(1759)에서 청⋅탁의 개념을 성모에 국한해서 쓰기 시작했고, 칼그렌(Klas Bernhard Johannes Karlgren, 1889∼1978)의연구 이후 청⋅탁은 무성음과 유성음의 분절 자질로 분석된다. 하지만 현재 한⋅중⋅일⋅베트남 어음을 살펴봤을 때, 후음에 해당하는 제로 음가와성문 마찰음에서 무성음과 유성음의 대립은 변별 자질로 활용되지 않는다.
이는 칼그렌이 주장의 근거로 삼았던 吳방언에서도 마찬가지이다. 趙元任 (1892∼1982)의 五度表記法1) 창안으로 초분절 자질에 대한 객관적 접근이가능해졌는데, 漢語 中古音의 청⋅탁과 중국 남방 방언의 음조와 양조가대체로 대응 관계를 이루고 있음을 알 수 있다. 청⋅탁과 음조와 양조가대응하는 것의 의미하는 바는 크지만 이와 관련한 연구는 많이 이뤄지지않았다.
東國正韻 후음 ‘ㆆ, ㅎ, ㆅ, ㅇ’은 조음 위치, 조음 방식, 청⋅탁표기를 위한 것이며, 여기서 청⋅탁은 초분절 자질의 관점에서 이해할 경우 납득할 만한 설명이 가능함을 訓蒙字會 및 칼그렌의 청⋅탁 재구음과 비교하여 고찰했다.

영어초록

After Karlgren’s research was published, the phoneme quality of the qīngyīn(淸/clear) and zhuóyīn(濁/unclear) sounds of the Chinese ancient sounds began to be analyzed as a confrontation of voiceless sounds and voiced sounds. Having said that however, the qīngyīn(淸/clear) and zhuóyīn (濁/unclear) sounds of the Chinese ancient sounds before Karlgren’s research were not classified into conflicting sounds but described as qīng(輕) & zhòng(重) (heavy and light), gāo(高) & xià(下) (high and low) and finally as yīn(陰) & yáng(陽). The very first person to transcribe the qīngyīn(淸/clear) and zhuóyīn(濁/unclear) sounds of the Chinese ancient sounds into sound value characters was none other than King Sejong and if we were to look at Sejong’s Hunminjeongeum Haeryebon edition (訓民正音解例本) as well as his personal music scores, it is believed that King Sejong accepted the qīngyīn(淸/clear) and zhuóyīn(濁/unclear) sounds as suprasegmental qualities.
In the Hunmongjahwae(訓蒙字會) written by Choi Sejin, unlike the Donggukjungwoon(東國正韻), the jeoncheong(全淸:voiceless consonant) ‘ㆆ’ and the jeontakja(全濁字:entering sounds of ‘ㄲ’, ‘ㄸ’, ‘ㅃ’, ‘ㅆ’, ‘ㅉ’, ‘ㆅ’ within the Hunminjeongeum) for the purpose of transcribing the gakjabyeongseo(各自並書:alignment of two consonants side by side) were not used so it is possible to carry out an objective comparison of the phoneme quality of the qīngyīn(淸/clear) and zhuóyīn(濁/unclear) sounds. In this paper, King Sejong, Choi Sejin and Kalgren’s transcription of the qīngyīn(淸/clear) and zhuóyīn(濁/unclear) sounds especially focusing on the hóuyīn(喉音/guttural sounds) sounds were carried out. As a result, an analysis was made where it was shown that individual values were clearly present in transcribing the qualities of the qīngyīn(淸/clear) and zhuóyīn(濁/unclear) sounds of the Chinese ancient sounds.
It appears that when King Sejong was transcribing the qīngyīn(淸/clear) and zhuóyīn(濁/unclear) sounds, he was basing them upon the real Chinese sounds and it is actually possible to confirm that the qīngyīn(淸/clear) and zhuóyīn(濁/unclear) sounds were demonstrated as suprasegmental qualities as evidenced by the Chinese southern dialects which still exists today. The reason as to why King Sejong strictly adhered to the qīngyīn(淸/clear) and zhuóyīn(濁/unclear) sound transcription, which does not reveal themselves in the Korean sounds of Chinese characters, can be found in the musical perspective of Confucius (Rújiā:儒家) and Zhōuyì(周易) philosophy. As to why Choi Sejin didn’t transcribe the qīngyīn(淸/clear) and zhuóyīn(濁/unclear) sounds can be found in the fact that he had the sole purpose of phonetically notating the Chinese characters into Korean sounds. The reason why Kalgren viewed the qīngyīn(淸/clear) and zhuóyīn(濁/unclear) sounds of the Chinese ancient sounds as a confrontation between voiceless and voiced sounds appears to be an influence from the freshly established International Phonetic Alphabet system during that time.
As it can be seen above until now, it is possible to surmise that there are various perspectives at work about the transcription of the qīngyīn(淸/clear) and zhuóyīn(濁/unclear) sounds. However, it was concluded that the qualities of the qīngyīn(淸/clear) and zhuóyīn(濁/unclear) sounds which King Sejong analyzed have been ultimately deemed to the most appropriate for the phonetic values of Chinese ancient sounds.

참고자료

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