천주교 장례노래 연도(煉禱) 가창의 해석과 이해 -장례예식서『상장예식』(2003) 연도를 중심으로-

Abstract

In order to learn the harmonious singing of the Yŏndo 煉禱 of Sangjang yesik『喪葬禮式』(2003), the record of the Yŏndo singing discourse of the ancient literature Ch'ŏnju sŏnggyo yegu 『天主聖敎禮規』(1865), the theoretical musical explanation, and the interpretation and understanding of 44 songs of the yŏndo were discussed. As a fundamental musical explanation of 44 songs of the yŏndo, It consisted of men calling them F minor or F minor. For women, it was stable and comfortable to call them E♭minor or D minor. In order to convey the contents of the lyrics of the poem well, the pronunciation expression was described. The interpretation and understanding of 44 songs in the Yŏndo focused on the interpretation of the specimen. The sustained central note e is a recitation tone, and the third interval high g note is sung without being loud. Pushing up g·a and flowing e·b are all soft and weak in small sounds, and half-cadence sings together and accurately at the same time as resting. In particular, the special melody Sŏngin hoch'ing kido 聖人呼稱祈禱 “Sŏng” that requires practice and attention is pronounced as “Sŏŏng”, the first g note “Sŏng” is pulled sufficiently, made relatively large, and then slightly bent while connecting the a note that is pushed up. The newly created Chugidomun 主祈禱文 based on the chronological order is a prayer taught by Christ directly, and the first and fifth stages are divided into mp and the sixth and ninth stages are divided into two parts and expressed in contrast as and . The joint is slightly bent and sung in a small voice and expressed in a very slow manner. The deathbed is the conviction of repentance and redemption, and Ipkwan 入官 expressed the situation in which tears come out as the last ritual of seeing death in g-e-b. Yŏmsŭp 殮襲 Ipkwan 入官 should strive to be a time for bereaved families to feel the existence of God as they are open-minded and to repent. They sing with feelings of excitement and power in three consecutive short steps in front of the end, such as the intentional use of the half cadence (eighth rest) of the Chu’lgwan 出棺, the expression of g-b-e-e, which has a difference in sixth-interval pitch of the rhyme, the use of g-note eleventh and the placement of b-e-e, which are made by imagination of the Talgu sound of the Hagwan 下棺. Chu’lgwan 出棺, Hagwan 下棺 and Myŏllye 緬禮 induce the heart to God to sing with a little faster feeling with joy, hope, dynamic, and vitality. Cremation sings slowly with emotions of “as if my bone were breaking”. The tension is increased with the exclamation of “A!” in the first g note succession, and the expression of the g note continuous ninth in the third stage, which is expressed subsequently, aims to sing so that you can feel sad and strong. Uje 虞祭 follows the order of the ceremony, and the bow is sung in a verse like a rhyme, allowing him to express his heart to God vigorously with joy and hope.