pISSN: 1975-4604
한국음악연구, Vol.74 (2023)
pp.179~202
국립중앙박물관소장 『금보(琴譜)』의 기보 체계와 수록 악곡
국립중앙박물관 소장 『금보(琴譜)』(이하 『중박금보』)는 국립중앙박물관에 장기간 소장되었음에도 한국음악학계에는 미공개 상태였다. 초견 이후, 학술회의 발표를 통해 심도있는 논평 및 관련 연구를 참고하여『중박금보』의 특징과 의의를 다음과 같이 정리할 수 있었다. 『중박금보』는 녹청색 표지에 ‘琴譜’라는 제목이 쓰여 있다. 백색의 내지(內紙)에는 세로 8칸 가로 4칸이인쇄되었고, 앞면에는 <平調中大葉第一> <第二中大葉> 두 곡이, 뒷면에는 <平調數大葉第一> <第二數 大葉> <羽調第一>이 실려 있다. 악보는 필사본이며, 5곡을 기보한 필체는 적어도 3인 이상의 것으로보인다. 악보의 기보는 내지에 칸이 인쇄되기는 했으나, 필사과정에서 정간(井間)과 대강(大綱)의 기능은고려되지 않았고, 칸을 이용해 합자보(合字譜)와 구음을 병기했다. 내지의 첫장 하단에는 ‘겸재(謙齋)’라는장서인이 찍혀 있다. 『중박금보』에 실린 중대엽, 삭대엽의 구성은 두 개의 여음(3지와 4지 사이의 중여음 및 5지 의 대여음)을갖추었다. 수록 악곡의 기보체계와 주법 구음 선율을 기존 연구 및 고악보와의 비교를 통해 악곡 중<평조중대엽>과 <삭대엽> 4곡은 18세기, <우조1>은 19세기 현황을 담은 것으로 확인할 수 있었다. 『중박금보』는 동시대 악보들에 비해 주법 및 구음 표기가 상세하고 다양한 점이 특징이며, 거문고의주법 변천의 단계(개방현 주법 및 역안 및 자출 표기 등)를 살필 수 있는 악보로서도 의의가 있다. 또한『중박금보』는 동시대 악곡을 집대성하거나 유명 음악인의 기록한 악보류와 달리 개인의 음악 향유 양상이반영된 악보로서 조선후기 거문고 애호가들의 악보 소장 문화를 살필 수 있는 자료라는 점이 특별하다. 본고는 미공개 자료의 해제를 위한 기초 연구이며, 향후 18-19세기 고악보 및 시대의 음악문화를 살피는 근거로 삼기 위해서는 심층적인 접근이 필요하다고 본다.
Notation System and Music Included in Geumbo 琴譜 Owned by the National Museum of Korea
Geumbo 琴譜 (hereinafter referred to as Jungbak-Geumbo) owned by the National Museum of Korea (國立中央博物館) was not disclosed to the Korean musicological community even though it was stored in the National Museum of Korea. After the first viewing, the characteristics and significance of Jungbak-Geumbo were summarized as follows, referring to in-depth commentary by Dr. sun-A Choi and related research through presentations at academic conferences. This score is a folded geomungo score and contains 5 songs(Pyeongjo Jungdaeyeop1>, , , in 3 types of fonts. Unlike old music score that is a collection of contemporary music or recorded by famous musicians, Jungbak-Geumbo was produced for the enjoyment of music by individuals, and is stamped with ‘Gyeomjae (謙齋)’. Gyeomjae is unknown. As a result of comparing the notation system, playing method, pronunciation, and melody with existing research and old scores, it was confirmed that among the included songs, four Pyeongjo Jungdaeyeop and Sakdaeyeop were from the 18th century, and was from the 19th century. Jungbak-Geumbo is characterized by detailed playing techniques and oral notation compared to contemporary scores, and is also significant as a score that allows us to examine the stages of evolution of geomungo playing techniques. Jungbak-Geumbohas the title ‘琴譜’ written on the greenish-blue cover. The white inner paper was printed with 8 squares vertically and 4 squares horizontally. On the front, there were two songs , and on the back, <第2庌數大葉> <羽調第一> are included. The score is a manuscript, and the handwriting that notated the five songs appears to have been done by at least three people. Although the notation of the score was printed with cells on the inner paper, the functions of the interval and outline were not taken into consideration during the transcription process, and the spaces were used to write joint notes and oral sounds together. At the bottom of the first page of the inner paper, there is a bookmark ‘Gyeomjae (謙齋)’. The composition of Jungdaeyeop and Sakdaeyeop in Jungbak-Geumbo has two consonants (the middle consonant between the 3rd and 4th fingers and the main consonant in the 5th limb). Through existing research and comparison of the notation system, playing method, oral sound, and melody of the included music with old scores, it was confirmed that among the pieces, four Pyeongjo Jungdaeyeop and Sakdaeyeop songs were from the 18th century, and was from the 19th century. Compared to old music scores from 18th and 19th century, Jungbak-Geumbo is characterized by more detailed and diverse playing techniques and oral notation, and is also significant as a score that allows us to examine the stages of evolution of geomungo playing techniques (open string playing technique, inverse and jachul notation, etc.). In addition, Jungbak Geumbo is special in that, unlike compilations of contemporary music or sheet music recorded by famous musicians, it is a sheet music that reflects an individual's style of enjoying music, and is a material that allows us to examine the sheet music collection culture of geomungo lovers in the late Joseon Dynasty. This paper was basic research for the release of unpublished data. In order to use this score as a basis for examining the ancient scores of the 18th and 19th centuries and the musical culture of the era, a more in-depth approach to the content of the score is needed.
