짓소리 연구 Ⅰ - 삼귀의 절차와 지심신례(두갑) 분석 -

Abstract

In this research project, I analysed the Chisim sillye 至心信禮 (i.e. Tugap 頭匣) pieces of the chissori pŏmp'ae 짓소리梵唄 from the Kyŏnggi 京畿 province Yŏgsanjae 靈山齋 ritual. I was able to establish that the Chisim sillye melody has a similar major key to the p'yŏngjo 平調, and a similar minor key to the kyemyŏnjo 界面調. It is more plain and smooth compared to other chissori pŏmp'ae, which are characterized by deep and thick vocalizations and melodies. During its 23-minute duration, there were 3 series of four vowel long clauses held for more than half of the entire melody. These phenomenon which low tones's lyric melody and smooth atmosphere of the Chisim sillye is in order to express admiration with a deep bow that reaches down until the head makes contact with the feet of a Buddha. The entire structure is composed of three parts: hŏdŏlp'um 허덜품, which contains a vowel melody as prelude; a lyric melody; and 3 series of four vowel long clauses. The lyrics have 10 letters divided into four parts. The lyric melodies are of a lower pitch than the vowel parts. The melody of the vowel long parts was usually high and technical, suffused with ornamental tones and various vocal expressional skills. As the song progresses, the structure of the melody becomes composited and multiple according to a logical system following the motive or thema melodies. Melodies flow with minute variation. The construction is step by step duplex and triplicate. The many repeated thema are moved a little back, or the vocals subtly changed in order to present a more artistic work. Sometimes the density is tighter with the sequence and the same thema. During this step there are various ornamental notes and technical vocals such as vibrations, cursive notes taken to a low or high pitch, drastic down-tones etc., as there are in traditional Korean songs. I was able to establish that the melody of chissori pŏmp'ae is not an infinitely changing one, because there were repeated or various melodies, thema or motives as well as regulations and patterns. It is a peculiar character of the chissori pŏmp'ae that the pitch of the important lyric melody was lofty while honor paid to Buddha occurred at a low pitch. This is because the spiritual philosophy of yeak 禮樂 correlated Confucian ideas with the low tone as the ideal sound. Also the technical vocal skills and melodic ornaments are indigenous to Korean traditional music.