한·중 편종과 편경 연구 현황 및 전망

Abstract

Confucian ritual music culture in East Asia can be traced back to Xia Dynasty and
 developed into a standardized ritual music system in the Zhou Dynasty. The 'JIn Shi
 Zhi Yue (Music of metal and stone)' in the Confucian ritual music tradition is mainly
 composed of pyeonjong (a set of bells; bianzhong in Chinese) and pyeon'gyeong (a set
 of L-shaped stone chimes; bianqing in Chinese). The earliest research on pyeonjong in
 China was the article 'Golden Chime Bells' published by Cui Yutang in 1958. After
 that, a series of researches examining rhythmic systems, acoustic characteristics,
 inscriptions, materials and rehabilitation of pyeonjong were published. However, the
 study of pyeongyeong was relatively late compared to that of pyeonjong. The earliest
 study about pyeongyeong was published in 1972; it was the article 'The Painted Stone
 Chimes of Chu State Discovered in Jiangling, Hubei Province and Related Issues' by the
 Hubei Provincial Museum. The subsequent researches of pyeongyeong mainly focused
 on inscriptions, rhythmic systems, materials, reproduction and acoustic characteristics.
 In South Korea, Jang Sahun was the first scholar who conducted the research
 specialized in this field. The subsequent researches in South Korea mainly focused on
 the production, materials, rhythmic systems, acoustic characteristics, inscriptions, and
 restoration of pyeongyeong and pyeonjong. Although the academic histories of
 pyeongyeong and pyeonjong in both countries have some similarities in research
 objects and problem awareness, they also have their own characteristics in terms of
 the focus, emphasis, scope, and interest of the research. As the representative musical instruments of Confucian ritual music culture, pyeongyeong and pyeonjong need to
 explore their multiple possibilities not only in the field of academic research, but also
 in current musical practice.