CAJ | 학술논문

朝鲜人郑麟趾等编《高丽史·乐志》的“唐乐”部分详细记载了北宋徽宗时传入朝鲜的七套“大曲”，《五羊仙》乃其中之一；它较为完整地反映了北宋宫廷大曲队舞的表演形态，具有很高的史料价值；它还与广州的“五羊仙传说”有内在联系，其产生与传播则可能与十国时期南汉宫廷的教坊乐人有关。对《五羊仙》大曲的“曲本”作出注释和研究，不但可以修正过往学术史上的一些观点，亦有助于岭南音乐舞蹈史、岭南文化史之研究，还有助于辨别南北两宋大曲队舞的异同。
조선인정린지등편《고려사·악지》적“당악”부분상세기재료북송휘종시전입조선적칠투“대곡”，《오양선》내기중지일；타교위완정지반영료북송궁정대곡대무적표연형태，구유흔고적사료개치；타환여엄주적“오양선전설”유내재련계，기산생여전파칙가능여십국시기남한궁정적교방악인유관。대《오양선》대곡적“곡본”작출주석화연구，불단가이수정과왕학술사상적일사관점，역유조우령남음악무도사、령남문화사지연구，환유조우변별남북량송대곡대무적이동。
Wuyangxian was the one of seven ＂Daqu＂, which were introduced to Korea in period of Emperor Hui- zong of Song Dynasty, and it was recorded in Gaolishi, Yuezhi （Korean History of Music） written by Jeong In -ji （郑麟趾）. This piece preserved the complete performing form of Daqu in the court of the Northern song dynasty, and as an artifact, it has a very high historical value. The connotation of this piece was related to the Wuyangxian fairy tales, and its origin and propagation might be connected with musicians in Southern Han during the Five Dy- nasties period. The paper offers a connotation and analysis on the actual score of the Daqu piece. The work con- tained in this paper may be used to correct a number of misunderstandings on Daqu within academics, and this work may also help to enhance the quality of study in the dance and culture＇ history of Ling＇ nan areas, and in particular, it helps in differentiating the forms of Daqu in Northern and Southern of Song Dynasty