• Journal of the Korean Society for Library and Information Science
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• v.46 no.4
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• pp.27-60
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• 2012

Jeong-Kuk Wonjong Gongsin-Nokgwon(靖國原從功臣錄券) is a book that recorded the titles of position and the names of retainers who helped the King Jung-Jong's revolution. This study aims to analyze the existing two books of Jeong-Kuk Wonjong Gongsin-Nokgwon, in order to figure out the reasons of grant, structure and forms, the characteristics of meritorious retainers' official positions and social status. The result shows that, Jeong-Kuk Wonjong Gongsin-Nokgwon was printed with the Choju-Gapin (初鑄甲寅) letter metal movable types. This book was composed of the beginning(卷首), the body(本文), and the end(卷末). Jeong-Kuk Wonjong meritorious retainers formed the total of 3,340 persons(1st grade: 418 persons, 2nd grade: 1,016 persons, 3rd grade: 1,906 persons) with 432 official titles. Also an analysis of their social status confirmed that 2,376 persons were "Yang-ban(兩班)" which constituted the largest group(2,376 persons: 71.1%), "Jung-in(中人)" were second group(494 persons: 14.8%), "Yang-in(良人)" were 272 persons(8.2%) and "Chun-in(賤人)" were 198 persons(5.9%).

• (The) Research of the performance art and culture
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• no.34
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• pp.315-353
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• 2017

This study examined the music policies of the three kings, Seongjong, Jungjong, and Injo, who were in power for about 200 years from the late 15th century to the early 17th century. These three kings deserve attention in musical history for different reasons. Sungjong published "Gugjooryeui"(1474), "Gyeong-gugdaejeon"(1476), and "Aghaggwebeom"(1493), the typical etiquette books, law books, and musical books that take the most important position in the history of Joseon, so his direction of music policy deserves attention. Jungjong was the king who rose to the throne after there was a revolt against Yeonsangun's tyranny. Injo ascended to the throne by starting a military coup d'etat himself. One may wonder how the aspect of music policies developed by a king, who was crowned by a revolt, is different from other cases. As each of these three kings had different background of enthronement and the contents of music policies in the royal family also developed with different emphasis, this study examined each aspect separately. Sungjong emphasized the importance of music and regarded it important to cultivate officials who know music. To this end, he gave a special order to Yejo(the office of protocol) and this study tried to clarify the contents first. In addition, this study examined the process, contents, and meaning of various modification works related to the revision of the lyrics used in the ceremonies. Jungjong supplemented the institutional aspects of music. This is the result of expressing the will to correct the anomalous and reckless music policies of the period of Yeonsangun. In addition, many words in the lyrics had been about Buddhist doctrines and love songs between male and female, so there were efforts to reform these. As for the period of Injo, this study examined the music policies that were made in the process of resolving the crisis after the war. It was a time when court musicians were scattered after two times of war and it was not possible to hold the national ritual properly, so music policies in this period were different from the ones in stable era. This study covered discussions on the measures to collect lost instruments and scattered musicians. It also looked at how the restoration effort was made in the situation that the music used in ancestral rites was abolished.