본 논문의 연구 목적은 한국전통음악에 있어 파생 및 반복을 거듭하며 시대 속에 함께 해 온 도드리음악에 주목하여 도드리 음악의 내면성 및 그 음악이 추구하는 경지와 의미를 儒家美學적으로 알아보는 것이다.
본 연구의 주제인 도드리는 한국 전통음악 중 正樂에 포함되는데 정악의 대부분에서는 다양한 도드리[還入]의 이름을 확인할 수가 있다. 그런데 ‘정악’이라는 글자의 의미에서 알 수 있듯이, 이 음악이 추구하는 ‘바른 음악’은 도드리 용어와 관련하여 ‘되돌아든다’라는 본원세계지향의 내면사상과 연계 할 수 있다. 왜냐하면 도드리는 한국 전통음악에 있어 풍류음악과 관련되는데, 이는 신라시대 玄妙之道라는 풍류사상에서 출발하여, 조선시대에 이르러 儒家의 학문ㆍ사상과 접목되면서 선비의 실천적 수양공부와 밀접한 상관관계를 갖게 되기 때문이다. 즉 조선시대 선비의 실천적 수양공부의 궁극적 목표는 “사사로운 자기의 욕심을 극복하고 예를 회복 함[克己復禮]으로써 뜻을 정성스럽게 하고 마음을 바르게 하고[誠意ㆍ正心] 참마음으로 돌아가 자기의 본성을 분명히 깨달아 알며[盡其心者, 知其性也.], 궁극적으로는 천명을 깨달아[知其性則知天矣.] 천인합일의 경지에 이른다.”는 것인데, 이는 거문고음악의 내면적 지향이라 할 수 있는 琴道와 맥락을 같이하고 있다.
따라서 도드리는 유가미학적 입장에서 볼 때 본원세계의 道를 지향하는 음악 내면의 철학적이고도 상징성을 띤 악곡의 명칭이라고 할 수 있으며, 또한 여러 시대를 거치면서 변천을 거듭해 왔지만 끊임없는 도의 작용을 음악적으로 형상화하면서 오늘날 향악의 구심점 역할을 하고 있는 대표적인 악곡에 대한 명칭이라고 할 수도 있다.
한편 한국 전통음악의 정악과 관련하여 그것이 궁극적으로 추구하는 경지는 그 향유층 및 문인 선비들의 이념적 사고로만 끝나는 것이 아니라 실제 악곡에 있어서도 ‘도드리’라는 이름으로 시대와 함께 거듭 내려 온 것에 매우 큰 의미를 둘 수 있다. 이는 곧 ‘이상적인 정감의 실천적인 예술작품의 구현’이라는데 의의가 있기 때문이다.
또한 도드리의 ‘되돌아든다’는 의미와 관련하여 본원세계로의 환원과 도의 작용이라는 상징적 원리는 미래음악의 핵심적 역할로 거듭될 것임을 확신한다. 이것은 수 세기를 통해 많은 변화를 거쳐 음악적 파생을 거듭하며 형성ㆍ발전되어 오면서도, 끊임없는 도의 작용을 음악적으로 형상화 하고 있다는 의미로 과거에도, 오늘날에도, 미래에도 함께 할 예술의 끊임없는 구동력이 되는 용어이자 ‘도드리 정신’이라고도 할 수 있다.
‘Dodeuri music’ have been together in age with repetitive reiteration and derivatives in Korea Traditional Music Area. The purpose of this research paper is to examine the inner essence, the pursuit state and means of ‘Dodeuri music’ with a Confucian Aesthetics view. ‘Dodeuri’ which is the research topic comes under the Jeong-ak(正樂) of Korea's traditional music. A veriety of name ‘dodeuri[Reversal(還入)]’ are verified in most of Jeong-ak (正樂) field. As we can see in the sense of the letter of ‘Jeong-ak’, ‘The proper music[jeong-ak(正樂)]’ which is pursuit of this music can be connected with the inner world-oriented thought to accomplish one's long-chrished wishes by the related terms of ‘Dodeuri[Reversal(還入)]’. Because ‘Dodeuri’ is related with Tasteful Music[風流音樂]of Korea's traditional music, It is starting from Tasteful thought[風流思想] of profound idea[玄妙之道] in Silla Dynasty, and grafted onto confucian academic ideas in Joseon Dynasty. In doing so, ‘Dodeuri’ has been closely related with praitcal self-discipline of Confucian Scholar in Joseon Dynasty. In other words, the ultimate goal of praitcal self-discipline of Confucian Scholar in Joseon Dynasty period is reach a high degree of ‘The Unity of Nature and Human[天人合一]’. The goal is achieved by recover the proprieties of his through overcome his own personal greed[克己復禮], and by establish elaborate will and be a person with an upright soul[誠意ㆍ正心], and by clearly find out his human nature by virture of an upright soul[盡其心者, 知其性也.]. By the way this is in line with a ‘Geum Spirit[琴道]’ which is inner-oriented goal of ‘Geomungo[琴]’ music. Therefore, ‘Dodeuri’ can be philosophical and symbolic name of music which is inner world-oriented music thought to accomplish one's long-chrished wishes with a Confucian Aesthetics view. And it can be the representive name of music which is acting as the pivotal role of today's Hyang-ak(鄕樂). Because it has been musically exemplified the continuous action of “Do(道)” which has been changed throughtout the ages. Meanwhile, with reference to “the Jeon-gak” of Korea's traditional music, the ultimate state of ‘Dodeuri’ is not finished with philosophical thought of Confucian Scholar and enjoyer group but has been handed down among actual name of music area by the name of ‘Dodeuri’ together with ages. Because it has the significance that it implement the practical works of art with ideal emotion. Also, with reference to the meaning of ‘Dodeuri[Reversal(還入)]’, it's symbolic principle which are return to the inner world-oriented music thought and action of “Do(道)” will surely perform a key role in the future music. It is the meaning of that notwhitstanding ‘Dodeuri’ has been repeated musically derived, formed, developed with several changes for ages, it has been kept musically exemplified the continuous action of “Do” which has been changed throughtout the ages. That is to say, ‘Dodeuri’ is the terms of continuous Actuating Force of art together with past, today, and future. We can say this as a ‘Dodeuri Spirit’.
‘Dodeuri music’ have been together in age with repetitive reiteration and derivatives in Korea Traditional Music Area. The purpose of this research paper is to examine the inner essence, the pursuit state and means of ‘Dodeuri music’ with a Confucian Aesthetics view. ‘Dodeuri’ which is the research topic comes under the Jeong-ak(正樂) of Korea's traditional music. A veriety of name ‘dodeuri[Reversal(還入)]’ are verified in most of Jeong-ak (正樂) field. As we can see in the sense of the letter of ‘Jeong-ak’, ‘The proper music[jeong-ak(正樂)]’ which is pursuit of this music can be connected with the inner world-oriented thought to accomplish one's long-chrished wishes by the related terms of ‘Dodeuri[Reversal(還入)]’. Because ‘Dodeuri’ is related with Tasteful Music[風流音樂]of Korea's traditional music, It is starting from Tasteful thought[風流思想] of profound idea[玄妙之道] in Silla Dynasty, and grafted onto confucian academic ideas in Joseon Dynasty. In doing so, ‘Dodeuri’ has been closely related with praitcal self-discipline of Confucian Scholar in Joseon Dynasty. In other words, the ultimate goal of praitcal self-discipline of Confucian Scholar in Joseon Dynasty period is reach a high degree of ‘The Unity of Nature and Human[天人合一]’. The goal is achieved by recover the proprieties of his through overcome his own personal greed[克己復禮], and by establish elaborate will and be a person with an upright soul[誠意ㆍ正心], and by clearly find out his human nature by virture of an upright soul[盡其心者, 知其性也.]. By the way this is in line with a ‘Geum Spirit[琴道]’ which is inner-oriented goal of ‘Geomungo[琴]’ music. Therefore, ‘Dodeuri’ can be philosophical and symbolic name of music which is inner world-oriented music thought to accomplish one's long-chrished wishes with a Confucian Aesthetics view. And it can be the representive name of music which is acting as the pivotal role of today's Hyang-ak(鄕樂). Because it has been musically exemplified the continuous action of “Do(道)” which has been changed throughtout the ages. Meanwhile, with reference to “the Jeon-gak” of Korea's traditional music, the ultimate state of ‘Dodeuri’ is not finished with philosophical thought of Confucian Scholar and enjoyer group but has been handed down among actual name of music area by the name of ‘Dodeuri’ together with ages. Because it has the significance that it implement the practical works of art with ideal emotion. Also, with reference to the meaning of ‘Dodeuri[Reversal(還入)]’, it's symbolic principle which are return to the inner world-oriented music thought and action of “Do(道)” will surely perform a key role in the future music. It is the meaning of that notwhitstanding ‘Dodeuri’ has been repeated musically derived, formed, developed with several changes for ages, it has been kept musically exemplified the continuous action of “Do” which has been changed throughtout the ages. That is to say, ‘Dodeuri’ is the terms of continuous Actuating Force of art together with past, today, and future. We can say this as a ‘Dodeuri Spirit’.
