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A Review of Studies in Musical Discourse during the Chosŏn Period Kim To-hwan In the Chosŏn period the scholarship of Neo-Confucianism played an important role in many fields, especially in the field of rites and music known as yeak 禮樂 (li-yüeh in Chinese). The codification of rites and music iniitated by King Sejong (r.1419-1450), and the results were published in literary sources such as the Sejong sillok ꡔ世宗實錄ꡕ, Kukcho oryeŭi ꡔ國朝五禮儀ꡕ, and Akhak kwebŏm ꡔ樂學軌範ꡕ. This paper is planned to examine the musical thoughts of several Neo-Confucian scholars and recent academic studies of their works in the field of Korean musicology. This paper deals with four topics: 1. Introduction, 2. Musical Discourses by Neo-Confu- cian scholars in the Former Chosŏn Peiord, 3. Musical Discourses by Neo-Confucian scholars in the Later Chosŏn Peiord, 4. Conclusion. In his main discussion the author includes musical discourses of such Neo-Confucian scholars as Yangch'on 陽村 Kwŏn Kŭn 權近 (1352-1409), Nan'gye 蘭溪 Pak Yŏn 朴堧 (1378-1458), and Hagyŏkchae 學易齋 Chŏng In-ji 鄭麟趾 (1396-1478) in the former Chosŏn period; and Pyŏngwa 甁窩 Yi Hyŏng-sang 李衡祥 (1653-1733), Siksan 息山 Yi Man-bu 李萬敷 (1664-1732), Sŏngho 星湖 Yi Ik 李瀷 (1681-1763), Pomanjae 保晩齋 Sŏ Myŏng-ŭng 徐命膺 (1716-1787), Tamhŏn 湛軒 Hong Tae-yong 洪大容 (1731-1783), Tasan 茶山 Chŏng Yag-yong 丁若鏞 (1762-1836), and Sŏngjae 省齋 Yu Chung-gyo 柳重敎 (1832-1893) in the later Chosŏn period. After consideration of the recent academic studies on the musical discourses by ten Neo-Confucian scholars in the main part, in conclusion the author emphasizes the necessity of further studies in the musical discourses by Chosŏn scholars particularly in the field of Korean musicology.


A Review of Studies in Musical Discourse during the Chosŏn Period Kim To-hwan In the Chosŏn period the scholarship of Neo-Confucianism played an important role in many fields, especially in the field of rites and music known as yeak 禮樂 (li-yüeh in Chinese). The codification of rites and music iniitated by King Sejong (r.1419-1450), and the results were published in literary sources such as the Sejong sillok ꡔ世宗實錄ꡕ, Kukcho oryeŭi ꡔ國朝五禮儀ꡕ, and Akhak kwebŏm ꡔ樂學軌範ꡕ. This paper is planned to examine the musical thoughts of several Neo-Confucian scholars and recent academic studies of their works in the field of Korean musicology. This paper deals with four topics: 1. Introduction, 2. Musical Discourses by Neo-Confu- cian scholars in the Former Chosŏn Peiord, 3. Musical Discourses by Neo-Confucian scholars in the Later Chosŏn Peiord, 4. Conclusion. In his main discussion the author includes musical discourses of such Neo-Confucian scholars as Yangch'on 陽村 Kwŏn Kŭn 權近 (1352-1409), Nan'gye 蘭溪 Pak Yŏn 朴堧 (1378-1458), and Hagyŏkchae 學易齋 Chŏng In-ji 鄭麟趾 (1396-1478) in the former Chosŏn period; and Pyŏngwa 甁窩 Yi Hyŏng-sang 李衡祥 (1653-1733), Siksan 息山 Yi Man-bu 李萬敷 (1664-1732), Sŏngho 星湖 Yi Ik 李瀷 (1681-1763), Pomanjae 保晩齋 Sŏ Myŏng-ŭng 徐命膺 (1716-1787), Tamhŏn 湛軒 Hong Tae-yong 洪大容 (1731-1783), Tasan 茶山 Chŏng Yag-yong 丁若鏞 (1762-1836), and Sŏngjae 省齋 Yu Chung-gyo 柳重敎 (1832-1893) in the later Chosŏn period. After consideration of the recent academic studies on the musical discourses by ten Neo-Confucian scholars in the main part, in conclusion the author emphasizes the necessity of further studies in the musical discourses by Chosŏn scholars particularly in the field of Korean musicology.