@article {byong-chon_title_2012,
	title = {On the Title of the Eighth Chongdaeop chigok Piece in Chongmyo Cheryeak},
	journal = {Journal of the Society for Korean Historico-Musicology},
	volume = {49},
	year = {2012},
	pages = {313{\textendash}342},
	abstract = {Chongmyo cheryeak 宗廟祭禮樂(royal ancestral shrine music) has been designated as Korea{\textquoteright}s Important Intangible Cultural Heritage No. 1, and was more recently proclaimed to be a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO. However, a recent dispute concerning the title of the eighth piece in Chongmyo cheryeak has generated much confusion. Even though the recent publication of {\textquotedblleft}Strait Reading of Ch{\textquoteright}ongyu 寵綏,{\textquotedblright} written by Yang Myong-sok 梁明錫,indicates the problems, still more study of the issue is required. This is made difficult by a shortage of related materials and the need for knowledge of phonetic changes and Chinese characters during the Choson 朝鮮Dynasty and of linguistics. Thus, in this paper, I will discuss the title of the eighth piece, {\textquotedblleft}Ch{\textquoteright}ongyu,{\textquotedblright} based on several historical documents, including Tongguk chongun 東國正韻, published during the Sejong{\textquoteright}s 世宗reign, and Kyujang chonun 奎章全韻 Chonun okpy{\textquoteright}on 全韻玉編,from the time of Chongjo 正祖.In his paper, Yang clarified that {\textquoteright}yu{\textquoteright} 綏in {\textquotedblleft}Ch{\textquoteright}ongyu{\textquotedblright} from Yiwangjik aakpu kyogwacho{\textquoteright} l 李王職雅樂部 敎科綴 should be read as such, based on the Korean reading of a Chinese character in Ch{\textquoteleft}onjamun 千字文 (The Thousand Sino-Chinese Characters). Another opinion, which insists that {\textquotedblleft}Ch{\textquoteright}ongyu{\textquotedblright} in Sejo sillok 世祖實錄 and Akhak kwebom 樂學軌範 (Guide to the Study of Music) should read as {\textquotedblleft}Ch{\textquoteright}ongsu,{\textquotedblright} cannot be corroborated because of insufficient evidence.Even-earlier publications of three versions of Akchang kasa 樂章歌詞 and Akchang yoram 樂章要覽 all transcribed the title as {\textquotedblleft}Ch{\textquoteright}ongyu.{\textquotedblright} Then, how should this reading of {\textquoteleft}yu{\textquoteright} be understood? Twenty versions of Ch{\textquoteleft}onjamun read this specific Chinese character as either {\textquoteleft}yu{\textquoteright} or {\textquoteleft}su.{\textquoteright} Tongguk chongun and Kyujang chonun okpy{\textquoteright}on read it as {\textquoteleft}su,{\textquoteright} while versions of Cho{\textquoteright} njamun after 1575 and between 1804 and 1935all read it as {\textquoteleft}yu.{\textquoteright} At the same time, Cho{\textquoteright} njamun also introduces hwaum 華音(huayin, Chinese pronunciation of Chinese characters), with indication of tones, and tongum 東音(Korean pronunciation of Chinese characters). These indicate that {\textquoteleft}su{\textquoteright} is the Chinese pronunciation while {\textquoteleft}yu{\textquoteright} is the Korean pronunciation. Thus, {\textquotedblleft}Ch{\textquoteright}ongyu{\textquotedblright}in Akchang kasa and Akchang yoram should in fact be read as {\textquotedblleft}Ch{\textquoteright}ongyu,{\textquotedblright} while Ch{\textquoteright}ongsu sahae 寵綏四海in Sogyong 書經 is a Chinese pronunciation.},
	issn = {1226-3443},
	author = {Byong-chon, Yun}
}
