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This article examines the changes in orchestration composition in ritual music in the late Joseon Dynasty. The method of orchestration organization in the late Joseon Dynasty was identified, and the main cause was examined as the relationship of being furnished with musical instruments.
It has always been taken for granted that orchestration in ritual music in the late Joseon Dynasty was recognized in a reduced form compared to the early Joseon Dynasty, however, even in the late Joseon Dynasty, when efforts were made to reorganize rituals and follow the music of Yeak ideology, it can be seen that the standard was not to restore the orchestration of the earlier period but to construct them uniquely to the later period. Understanding this in a different operating method from the early Joseon Dynasty following the ancient system is necessary.
The aspects derived by dividing the Abu and Sokbu of the ritual music orchestration are as follows. First, the scale of orchestration is a form of maintaining the basic organization first established in the late Joseon Dynasty. Based on the Abu of King Injo and the Sokbu of King Sukjong, the type and quantity of instruments are maintained, but only instruments that did not exist before are added. In rituals, it appears that they tried to secure legitimacy by inheriting the precedents of the previous dynasty. Second, the addition of musical instruments is closely related to being furnished with musical instruments. Among the Aak instruments, the TeukJong and Teukkyung were acquired and added to the orchestration only at the end of the Joseon Dynasty due to difficulties in manufacturing, the Saengryu and wind instruments were also imported from China due to difficulties in manufacturing, so the supply of instruments within the Joseon court was not guaranteed shows minimal organization. also, in terms of Sokbu instruments, it was only at the end of the Joseon Dynasty that Wolgeum and Daejaeng were newly manufactured and organized. Third, string instruments such as Gayageum, Hyungeum, and Dangbipa were excluded from the Heonga of Sokbu orchestration. It indicates that this was due to the transformation of the Heonga orchestration into the center of a wind-oriented instrument rather than an issue with instrument supply.
Therefore, the ritual music orchestration of the late Joseon Dynasty deviated from the Gung-Heon system of the early Joseon Dynasty, which operated numerically, and the four cardinal directions placed of Jong and Kyung. It can be said that the result of choosing a new operating method unique to the late Joseon Dynasty considered practicality rather than formality without being bound by the ancient Chinese era.