Departmental Bulletin Paper 朝鮮王朝前期における『律呂新書』研究 ― 『朝鮮王朝実録』を中心として―

榧木, 亨

48pp.53 - 76 , 2015-04-01 , 関西大学東西学術研究所
This paper examines the process of reception and dissemination of Lulu xinshu, a Song-dynasty Chinese treatise on musical theory, during the early period of the Joseon Dynasty in Korea, and also looks at the reception and development of houqishu, an ancient method of meteorological divination using tuned pipes. Study of Lulu xinshu in the Joseon Dynasty began during the reign of King Sejong (r. 1418 –50). Because Lulu xinshu was included in the Xingli daquan(Great Anthology of Nature and Principle), a great compilation of Neo-Confucian teachings, it was seen from the outset as a Neo-Confucian work and research on it was conducted primarily by Korean Neo-Confucian scholars. Since Lulu xinshu was a work of music theory, it was adopted by King Sejong’s court as the basis for codifying a system of musical temperament,but the driving force behind study and research into Lulu xinshu was nevertheless almost entirely scholar-officials educated in the Neo-Confucian tradition. With regard to houqishu, previous research has suggested that it was gradually eliminated from the process of fabricating the luguan, the set oftwelve pitch-pipes used for tuning in classical Chinese music. But the author’sresearch shows that as late as the reign of King Jungjong (r. 1506–44 ), houqishu was still employed as a technique for confirming the accuracy of the pitch-pipes, and that the specific methods used were influenced by the Lulu xinshu. However, houqishu did not become the principal method used in the production of pitch-pipes, and this poses interesting questions in terms of assessing the status of houqishu in Korea. In light of the above, we might say that the process of reception and assimilation of Lulu xinshu was also a process of conflict and harmonization between the Neo-Confucian elements and the musicological elements to befound in the Lulu xinshu.

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