丁若鏞의 『樂書孤存』에서 4청성(淸聲)론에 대한 검토

This paper is for examining the essence of Sa-cheongseong(淸聲) and the errors of Sa-cheongseong about 12Yul(律), centering around 〈discussing that Sa-cheongseong(淸聲) arises〉 from discussion part, and 〈defending that 4Cheong(淸) is Cheong(淸) of 5Cheong(五淸), not Cheongseong(淸聲) of 12Yul〉 from defense part in articles about Sa-cheongseong from Jeong, yak-yong’s 『Akseogojon』(樂書孤存). First, that Sa-cheongseongs are sounds among 5 sounds is the basic premise by Jeong, yak-yong. The reason is, a sound would be very low if it is lower than Gung(宮) and a sound would be very high if it is higher than Woo(羽). So he claimed that a saint made Cheongseong(淸聲) at Gung(宮) · Sang(商) · Gak(角) · Chi(徵). That is, the 9 sound system is finally made up of ‘Gung(宮) · Cheonggung(淸宮) · Sang(商) · Cheongsang(淸商) · Gak(角) · Cheonggak(淸角) · Chi(徵) · Cheongchi(淸徵) · Woo(羽)’. Also Sa-cheongseong is same with ‘4Sang’(四上) · ‘4So’(四少) · ‘4Yun’(四閏) · ‘4Byeon’(四變), and so is the system. Second, Jeong, yak-yong told 〈4Cheong is Cheong(淸) of 5Cheong, not Cheongseong of 12Yul〉. This is the problem raised between 12Yul and Sa-cheongseong, which is not well recognized now in Korean Music Academia. Jeong, yak-yong criticized Chuyeon(鄒衍) and Yeobulwi(呂不韋)’s Seongungjibeop(旋宮之法), since he thought that they deliberately added 4Yul(律) to Yichik(夷則)․Namyeo(南呂) · Muyeok(無射) · Uengjong(應鐘) to make 5 sounds system so that it can play a role as Seongung(旋宮). Moreover, he thought that the newly-made 4Yul(律), Cheonghwngjong[潢], Cheongdaeryeo[汏], Cheongtaeju[汰], Cheonghyeopjong[浹], were named samely with Sa-cheongseong(四淸聲) of O-seong(五聲) by theorists so that there becomes an error for the article of Sa-cheongseong. In addition, he claimed that there is no reason to add 4 stairs to 6Yul(律) since it has several grades. and he thought if there were Cheongseong(淸聲) in 12Yul, all the 12Yul had to have Cheongseong. Thus, he raised a question about the reason they made only Sa-cheongseongs. And he also doubted who to follow because the articles of Sa-cheongseong about 12Yul are all different depending on theorists. Furthermore, this paper discusses whether Pyeonjong(編鐘) which has 16 bells is an original shape or not, focusing on ‘Sa(肆)’ of Gajong(歌鍾) 2Sa(肆) which Jung Dynasty person gave to Qin Dynasty marquis. In this part, the point is that we can not know what shape ‘Sa’(肆) has exactly, because there is no accurate standard letters such as ‘Sa’(肆) or ‘Do’(堵) which are from the difference of translation from Jeonghyeon(鄭玄) and Duye(杜預). Thus, I can’t be sure if the 16 bells is 1Je(劑), which Jeonghyeon(鄭玄) translated with 『Jurye』(周禮) on the basis of Han(漢) Dynasty music system. Also, there is no sentence like that in scriptures. Therefore, Dasan(茶山) suggested a sentence, ‘Music instrument makes 12Yul as its custom, and 12Seong(十二聲) as its standard’ from 『Jurye』(周禮) 「Jeondongjik」 (典同職). And he doubted if we should believe and iconize Jeonghyeon’s annotation without considering any sentences in scriptures which could be significant grounds. Finally, he expressed the legitimacy of Pyeonjong(編鐘) which is made of 12 bells.