학술논문
정약용(丁若鏞) 『악서고존(樂書孤存)』의 음악이론적 쟁점
On Musical Theoretical Problems of Jeong Yak-yong’s Akeso gojon
On Musical Theoretical Problems of Jeong Yak-yong’s Akeso gojon
Document Type
Article
Author
Source
음악학(音.樂.學). Jun 30, 2022 42:73
Subject
Language
Korean
ISSN
1229-5566
Abstract
정약용(1762~1836)의 음악이론 저술인 『악서고존』(1811)에 대해 한국음악학계에는 기존의 왜곡된 악론을 혁신했다는 찬탄과, 내용에 오류나 무리가 많다는 비판이 공존한다. 이 글은 가급적 보편적인 또는 서양음악학의 용어를 써서 『악서고존』의 악률론과 악기론을 간추려 소개하고, 책의 음악실제적 오류와 이론적 무리, 그리고 형이상학적 전제를 지적한다. 결론적으로, 『악서고존』은 음악 실용서로의 가치보다 동아시아학의 고전으로서, 특히 다산 경학의 중요한 일부라는 데서 의의를 찾을 것을 제언한다.
Jeong Yak-yong’s 丁若鏞 (1762~1836) Akseo gojon 樂書孤存 (“Solely maintaining the Book of Music”) has boasted a dual reputation: that it succeeded in reforming all the distortions in musical theories of the past, on the one hand; and that it is full of fallacies and absurdities, on the other. The essay summarizes the work’s musical practical and theoretical subjects, especially musical temperament and organology, using a more general - or Western musicological - terms, and examines its practical fallacies, theoretical incongruities and absurdities, and metaphysical dogmas. To conclude, the essay suggests that Akseo gojon is more significant as a part of Jeong’s studies of the Classics, especially of the doctrine of Change (yi 易), than as a sheer musical theoretical dissertation.
Jeong Yak-yong’s 丁若鏞 (1762~1836) Akseo gojon 樂書孤存 (“Solely maintaining the Book of Music”) has boasted a dual reputation: that it succeeded in reforming all the distortions in musical theories of the past, on the one hand; and that it is full of fallacies and absurdities, on the other. The essay summarizes the work’s musical practical and theoretical subjects, especially musical temperament and organology, using a more general - or Western musicological - terms, and examines its practical fallacies, theoretical incongruities and absurdities, and metaphysical dogmas. To conclude, the essay suggests that Akseo gojon is more significant as a part of Jeong’s studies of the Classics, especially of the doctrine of Change (yi 易), than as a sheer musical theoretical dissertation.