예불문의 선율구조에 관한 연구

Abstract

In this paper, I have focused on the phrase for the worship before the image of Buddha, especially on the ones that performed at dawn, the 11th of the 24 periods of the day - that is, from 9:30 to 10:30 a.m.- and in the evening. The phrase for the ordinary prayer has rather simple melodic line that is consists in menari mode 메나리調 ‘re-do-la-(sol)-mi’ and used when people worships before the image of Buddha or holds a Buddhist mass. If we take a look at the origin of it, the phrase of "Ch‘iljŏngrye" 七頂禮 which we use currently, is what has been abridged from 29 texts to 7 to make it more easier to be sang by the monk Wŏrun 월운 who reside in Pongsŏnsa 봉선사 temple in South Yangju county, Kyŏnggi province and couple other monks in year 1955. According to this fact, one can easily find out that these phrases for the worship songs had been changed since 1955, most possibly due to reason of difficulties for performing these songs written in complicated melodic lines with less musical unity. With these reasons, the current version of "Ch'iljŏngrye" had been created, unified and handed down orally among the monks and buddhists, with the help of easily reformed phrases, melodic lines and of mass communication. However one cannot pass over the negative sides of these unifications of fairly newly reformed phrases for the worships. Today, we have much less monks who are able to perform "Hyangsu haerye" 香水海禮, the worship of the former days, because of the less frequencies of performances of it. Only couple of the temples are still performing these worships such as Pongwŏnsa 奉元寺 temple in Seoul, Sŏnamsa 仙巖寺 temple in Sunch'ŏn 順天, Ch'ŏn'goksa 泉谷寺 temple in P'ohang 浦港 and Hyangrimsa 香林寺 temple in Kwangju 光州. In this paper, I would like to compare the process and the background of the historical changes that has been made in between "Hyangsu haerye" and current worship "Ch'iljŏngrye". An analysis on its musical characteristics will also be followed using recordings and the scores that has been personally written and recorded. The order of the traditional morning worship is in following order: it starts with Toryangsŏk 道場釋 and process to Chongsong 鐘頌, samul 四物 (pŏmjong 梵鍾, a temple bell; pŏpko 法鼓, dharma drum; mogŏ 木魚, a wooden carp-shaped drum; and unpan 雲版, cloud block) and finally perform yebulsoe 예불쇠 (a handbell used by Buddhist monks). These are followed by Tage 다게, Hyansu haerye and Sasŏngrye 四聖禮 Yuksŏngrye 六聖禮, and for the evening worship they perform Obun hyangrye 五分香禮 instead of Tage. In contrast, the current worship phrases did not separate the morning and evening worships by performing Obun hyangrye for both of them before the pay homage to Buddha. The traditional Hyangsu haerye were able to be sung in couple different ways. It can be sung in melismatic style which is similar to those of pŏmp'ae 梵唄 (Buddhist ritual chant) as well as in Kaet'aksŏng 開鐸聲 style with such a speed and elaboration. When sung in Kaetacksŏng style, the tempo of the song was even faster than the current one. Despite the fact that the present Ch'iljŏngrye has a note for each word, its slow tempo enable it to be developed more musically than the traditional one. Addition to that, traditional Hyansu haerye uses kyŏngsoe 경쇠 (a handbell) to make a sign tone in contrast with the current Ch'iljŏngrye uses a wooden gong for the same purpose. Both of these worship phrases are written in menari mode which is consisted with two main tones ‘mi’ and ‘la,’ and they tend to have descending melodic lines that note ‘re’ goes to ‘do↘la'↘sol'’ and finally to ‘mi.’ This indicates that there is not such a huge change has been made in therms of the mode of Ch'iljŏngrye because it has been abridged from Hyangsu haerye. In its vocalism, chorus leading and receiving technique was used widely especially in traditional worship. Many different types of variations were possible and the chorus parts were even able to troll the song. This is somewhat similar way of vocalise to those of current worship phrase, except the fact that current ones are usually sung by the monks only in lead and receive techniques in unison. Contrary to this, in traditional worship, not only the monks but the believers were also able to sang pŏmp'ae 梵唄 (Buddhist ritual chant) therefore they were singing in harmony with the monks. This kind of duet vocalism makes it more rich and full musically. In conclusion, the current Ch'iljŏngrye made its nation wide debut thanks to its easier melodic line and results its original form to be gone. It is such a nice progress that has been made in Korean Buddhist religious order regarding the unity that we were able to achieve by changing some ways of worship and its practices, but at the same time, we can just look pass on to the fact that we should not be just following the new things disregarding the traditions that should be also kept. These two types of worships are currently co-existing and handing down, but the traditional worship phrases are about to be disappeared. I suggest we should use both of them in balance for transmitting and preserving them wholly.