Chapter 315

Chapter 315

Starting with the economic reform, the entire Joseon was changing, and the process seemed to be mostly smooth.

However, there were quite a few areas that showed sluggish results as various problems intertwined.

The organization of music, which Park Yeon and Anpyeong were devoted to, was one of them.

***

Sejong felt the necessity to revise music.

In Confucianism, which Joseon had chosen as its national ideology, observing rituals was an important matter. Therefore, observing the Five Rites—auspicious rites, guest rites, military rites, festive rites, and inauspicious rites—was very crucial.

And in the ceremonies observing these Five Rites, music was rarely absent.

That was why Sejong felt the need to revise music.

“Do you know anyone who is well-versed not only in Confucianism but also in ritual studies, knowledgeable in music theory, and skilled in playing musical instruments?”

At Sejong’s request, the ministers immediately recommended Park Yeon, and Sejong entrusted the task to Park Yeon.

And in the middle, Anpyeong got involved.

***

Although Anpyeong joined in the middle, he also possessed remarkable talent.

Therefore, progress seemed to be going well, but before long, conflicts began to arise between Park Yeon and Anpyeong.

It was due to differences in their values regarding music.

Unlike Park Yeon, who only valued the ancient Chinese music called aak, Anpyeong argued that folk music such as hyangak and dangak also had value, causing a clash.

The conflict arising from the difference in values was quite serious, and it eventually led to a situation where Anpyeong sought out Hyang to confide in him.

“His Majesty will resolve it.”

“Pardon? How will His Majesty...”

“Trust me. They say there are blessings for those who believe.”

“Pardon?”

Although Anpyeong tilted his head at Hyang’s words, he ended up waiting for Sejong’s decision.

And Sejong did not deviate from Hyang’s expectation.

Sejong rejected Park Yeon’s opinion that only aak should be used exclusively in the royal rituals and national ceremonies.

“Aak is originally not the vocal music of our country but that of China. Chinese people would be accustomed to hearing it regularly, so it would be normal to play aak in rituals. However, our people listen to hyangak while alive, so wouldn’t it be strange for them to hear aak after death?” (Note 1)

Following Sejong’s decision, Park Yeon was tasked with organizing not only aak but also hyangak and dangak.

And Anpyeong sought out Hyang and shouted with a joyful face.

“It is as Your Highness said! His Majesty has resolved it!”

“Indeed. Then work diligently.”

“Yes!”

***

Park Yeon, who agreed with Sejong’s point, devoted himself to the work again. Anpyeong also put in his best effort to carry out the work.

However, the two soon encountered a pitfall, which was the issue of musical notation.

Oriental music was composed of a scale of 12 notes. In terms of Western music, it was divided into 12 notes within one octave.

The problem of musical notation that Park Yeon and Anpyeong faced was that the existing notation recorded the pitch of the notes but not the exact rhythm.

The issue of rhythm and ornamental notes used to enhance the music were transmitted through rigorous oral instruction between teacher and disciple, memorizing them through daily life practices.

“We cannot call it proper organization unless we resolve this issue.”

Park Yeon nodded in agreement with Anpyeong’s words.

“I agree.”

Even at this time, there was something similar to sheet music, but it merely recorded the scale of the music. The rhythm and ornamental notes were either orally transmitted or marked with unique symbols of their own, which had the problem of being incomprehensible to a third party.

What Park Yeon and Anpyeong were aiming for now was to create a standardized notation that anyone who could play musical instruments could instantly understand upon seeing it.

***

After pondering and searching for methods but failing to produce satisfactory results, Anpyeong sought out Hyang again.

“...Therefore, we need a solution to resolve this. Since Your Highness’s exceptional talent and intelligence are well-known to all the people of Joseon, I expect you to provide a good answer.”

“Oh my...”

At Anpyeong’s words, Hyang made a troubled expression.

Hyang also enjoyed music and frequenting karaoke rooms, but it wasn’t to the level of his fanatic interests. No, to be precise, music was not included in Hyang’s fanatic pursuits.

‘What should I do about this...?’

As Hyang was racking his brain with a troubled expression, he recalled one memory and his face brightened.

“Let’s go to His Majesty!”

Entering the meeting room, Sejong spread out a piece of paper and continued.

“If we divide a square into a well (井) shape like this and write the notes, wouldn’t it be possible to visually understand the rhythm? If you fill one square with one character, it’s an on-bak (full beat), and if you write two characters, it’s a ban-bak (half beat). In this manner.”

“Ah!”

At Sejong’s explanation, Hyang, Park Yeon, and Anpyeong all let out exclamations of admiration.

Park Yeon shouted in a trembling voice.

“That is correct! With this, it can be instantly recognized!”

“Then, is it a good answer?”

At Sejong’s question, Park Yeon and Anpyeong answered simultaneously.

“It is more than sufficient as an answer! We are immensely grateful!”

“Is that so? That’s fortunate. Then work hard. You too, Anpyeong.”

“Yes, Your Majesty!”

Sejong’s face was full of energy as he left the Music Institute.

“As expected, taking a short break to refresh the mind brings back the energy. Today’s work will go well.”

“It is truly fortunate.”

Hyang’s face was slightly pale as he agreed with Sejong’s words.

‘It wasn’t a bluff but the truth! He’s truly an outlier!’

It was Hyang’s attempt based on his memory of the unofficial historical record that Sejong created jeongganbo (a type of musical notation) in a single evening, but an unbelievable result had emerged. (Note 1)

***

Although Sejong had provided the framework, it wasn’t the end. The composition of the musical scores continued to be pondered upon.

“Shall I give it a try?”

When Hyang stepped forward, Anpyeong and Park Yeon were delighted.

“Will you really help us?”

“I’ll make a draft first and bring it to you.”

Hyang, who had made a promise in front of the two, came up with a draft of jeongganbo after various deliberations.

Whether by coincidence or intentionally, the jeongganbo created by Hyang was closer to the improved version of jeongganbo created in the late 20th century than the orthodox jeongganbo used by Joseon in the history before Hyang’s intervention.

“I divided the measures into 6 columns and 1 section, and each column is divided into 9 squares. To avoid confusion, I made the outer columns thick black lines and the inner squares divided by thin blue lines. And I left spaces between sections to write lyrics or make other markings. How is it, Anpyeong? What do you think, Chief Park?”

At Hyang’s question, Anpyeong, who was examining the jeongganbo, answered with a wide smile.

“It’s perfect!”

However, Park Yeon replied with a slightly worried voice.

“It’s convenient to read and good for recording, but won’t it be difficult to print?”

At Park Yeon’s concern, Hyang laughed loudly and answered.

“Hahaha! For the craftsmen of Area 51 and the Royal Printing Office, this is a piece of cake!”

***

While mass-printing textbooks for Saminhakdang and currency, the craftsmen of Area 51 and the Royal Printing Office had become masters of creating movable type, woodblocks, and printing.

Not only the intaglio technique learned from Pietro and Raphael but also the multi-color printing introduced while producing currency was no longer a problem.

For such craftsmen, printing jeongganbo was an easy task.

And by using hwangji (a type of paper), mass printing was possible at a low cost.

Until the organization of aak and hyangak scores was completed and officially published, jeongganbo printed on hwangji was sufficient.

***

With the mass supply of jeongganbo paper, the organization of musical scores gained even more speed.

By selecting the most experienced and skilled musicians to participate in the work, the creation of symbols indicating ornamental notes and playing techniques also proceeded smoothly.

Thanks to this, the organization of aak, hyangak, and dangak was soon to bear fruit.

In such a situation, Park Yeon and Anpyeong clashed once again.

The folk songs sung among the people brought about the conflict.

“The songs of the people are also music. They should be transcribed and recorded as well!”

“The folk songs sung by the people are merely sounds, not music!”

The two collided fiercely once more.

***

Note 1) Reading the Annals of King Sejong in One Volume. Written by Park Young-gyu. Woongjin Knowledge House.