경제 범패 <정례> 연구(1) - 상주권공의 소리를 중심으로-

Abstract

This paper is an overview of the characteristics and transmission of chŏngnye (頂禮) in Kyŏnggi Buddhist music (京制), which is one of the ritual music of Sangjukwŏngong (常住勸供) to make a deep bow to three treasures (Buddha, the law of Buddha and a Buddhist monk), and was a large-scale Buddhist song comprised of panjitsori (반짓소리) and accompanied by the Buddhist dance in the past, even though it is a short hotsori (홑소리) now. The following are the results. On the basis of the ancient literatures, chŏngnye has a long history and employs the four kinds of voice tone (四聲) of middle chinese like general Buddhist chants, which implies that chŏngnye was derived from the typical and simple buddhist chant and has developed into jitsori (짓소리) in Kyŏnggi Buddhist music in the late Chosŏn dynasty, which is assumed to have been sponsored by a member of the ruling. of all the renditions, chŏngnye sung by a monk from Kaesŏng, named Pyŏkŭng, had the most traits characteristic of the original form, reinforcing the belief that chŏngnye of Sangjukwŏngong which is the combination of hotsori and jitsori, so-called panjitsori, originated in his hometown. Kaesŏng. It shows well the high musical level of the Buddhist music of Kaesŏng. However, in recent days, the origin of chŏngnye has become extinct, and some kind of modified chŏngnye, which has been transformed into a short hotsori by a monk named Songam, is being transmitted in Kyŏnggi Buddhist music located in Seoul. In musical respects, the origin of chŏngnye consists of irregular triple beats (x/󰁜), and is rooted in menari t’ori (mi, sol, la, do′, re′), which is mutually influential with kyŏng t’ori (sol, la, do′, re′, mi′). Also, it can be structurally classified into tree parts, AAB; the last part(B) of them shows the musical quintessence of chŏngnye combined with hotsori and jitsori (panjitsori)