운초 장사훈의 세종대 음악 연구 업적

초록

Jang Sa-Hun’s research on music during the Sejong era can be divided into two main categories. Firstly, his writings focused more on King Sejong than Park Yeon in relation to research on the specific period of the Sejong era. This is distinct from Ham Hwa-Jin’s perspective in the 1940s, which emphasized Park Yeon’s role in relation to music during the Sejong era. Although Lee Hye-Gu also had a cautious view regarding the interpretation of Park Yeon’s activities and achievements, he also presented research results on Park Yeon as a subject. Considering this, until Jang Sa-Hun published 『Research on Sejong Era Music』 in 1982, there were no studies that highlighted Park Yeon. Thus, Jang Sa-Hun’s research on music during the Sejong era focused on King Sejong rather than Park Yeon, with the intention of emphasizing the musical spirit of King Sejong, i.e., ‘the independent spirit of King Sejong’, and applying it to modern society. Additionally, the decryption of musical scores and ancient musical notation in the 『Annals of King Sejong』 allowed for a certain degree of clarification of the essence of music, which also played an important role. Jang Sa-Hun’s discussions on hyang-ak during the Sejong era involved revealing the lineage and origins of each musical piece, as well as discussing both the literary and musical structures. Through this, he was able to place more emphasis on the creation of hyang-ak during the Sejong era and present specific research results. Secondly, Jang Sa-Hun’s discussions on the redesigning of a-ak used in hoeryeak (banquet music) or Jeryeak(ritual music) were mainly limited to the presentation of revised or newly added titles of musical pieces and the sources of each musical piece. In 『Korean Music History』, the melodies of Sejong-era’s hoerye a-ak were also presented, but in the later publication of 『Research on Sejong Era Music』, this was presented more succinctly. In other words, Jang Sa-Hun approached the discussions on Sejong-era a-ak in a relatively passive manner compared to hyang-ak. Jang Sa-Hun saw the situation during the Sejong era, where many Confucian scholars, including Park Yeon, were inclined towards Chinese-style musical instruments, as similar to the indiscriminate adoption of foreign music in the late 20th century. Thus, he intended to present King Sejong’s subjective musical spirit and the creation of court music as a historical precedent that should be emulated in modern society. In this context, he deliberately focused more on discussing court music compared to other types of music during the Sejong era.

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