《乐学轨范》所载祀天神乐四调之音构造研究

Study on Tonal Structure of Ritual Music used in Sacrificial Rites to Heavenly Gods written in Akhakgwebeom

在《乐学轨范》中除了《周礼》、《宋史》、成宗朝的祀天神乐四调中的宫调"圜钟为宫"调外,即使其他三调黄钟为角、太簇为徵、姑洗为羽的调名相同,这三调的构成音与中心音也都各不相同。《乐学轨范》的编撰者在《宋史》祀天神乐说明中忠实地引用了《宋史》的记录。只记录为调式乐调名的《周礼》祀天神乐四调构成了相当于为调式调名的构成音提示出来了。成宗朝的祀天神乐四调是把与《宋史》中构成音不一致的为调式乐调名改为构成音恰当的为调式的名称后,找出中心音,然后再改为宫调的。这是因为当时只使用了宫调。把角调、徵调、羽调的音乐都替换为宫调,把起调毕曲的圈点标记在"宫"音上,这不是把乐调解释错了,而是说明了当时的演奏方式。

The four tonal systems of the ritual music used in the sacrificial rites to heavenly gods in the era of King Seongjong (成宗,1470—1494) came into current form after its wrong modal name was fixed into the suitable wi system,and then it was again fixed into gung scale since only gung scale was used in the early Joseon dynasty.Akhakgwebeom faithfully followed the wi system except for the cases where ji system was described in the original document.