고대 일본의 禮樂思想 수용과 三國樂

• 영문명: The acceptance of reigaku(禮樂) philosophy and three kingdom’s music in ancient Japan
• 발행기관: 일본사학회
• 저자명: 강은영(Kang, Eunyoung)
• 간행물 정보: 『일본역사연구』일본역사연구 제42집, 5~30쪽, 전체 26쪽
• 주제분류: 인문학 > 역사학
• 파일형태: PDF
• 발행일자: 2015.12.30

영문 초록

The music from the three kingdoms came to Japan at different times. It was not until the time of the reign of Emperor Tenmu(天武) that the music from the three kingdoms got merged as a single genre. The fact that the music of the three kingdoms emerged as the mainstream of foreign music means that an earlier form of the royal music institute already existed under Daeboryung. The music system under the reign of Emperor Tenmu must have turned into the royal music institute during Daiho legal core. And as the Baekje music had strong characteristics of Buddhist music, it must have been accorded the greatest importance in the music of the three kingdoms which was the symbol of rituals. An examination of the composition of miscellaneous music at the royal music institute shows that the portions of Dang music and the music of the three kingdoms vary immensely. In the case of the music of the three kingdoms, the music of Shilla, the simplest form of music, constitutes an equal part as the music of Koguryo and Baekje. The superior position of Dang music in foreign music and the equal portions of the music of the three kingdoms are attributable to the random organizing done by the statutes-governed country. However, in the third year of Tenpyo(天平), the royal music institute was reformed. By the time of the reign of Shodoku(稱德) in the late 8th century, as Japanese envoys who visited Dang brought back court music books, and court rituals increasingly adopted the practices of the Dang dynasty, the role of the royal music institute became weaker. This indicates that the country governed by Buddhist statutes grew mature enough to accept the pure court music customs from China. Hence, it can be inferred that ceremonial music was notblindly imported to Japan along with Buddhist statutes, but it was introduced selectively and gradually in keeping with Japan s development.

목차

Ⅰ. 머리말

Ⅱ. 三國樂의 일본 전래와 성격

Ⅲ. 禮制ㆍ樂制의 정비와 三國樂

Ⅳ. 禮樂思想의 형성과 三國樂

Ⅴ. 맺음말

키워드

禮樂思想 三國樂 雅樂寮 大寶律令 度羅樂 Reigaku philosophy three kingdom’s music the royal music institute Daiho legal core Dora music