중국 한어 성조와 한국 범패

Abstract

Cáozhí(曹植192~232) composed Chinese Buddhist chants during the formative period of the Chinese phoneme based on the Book of Odes(詩經) and Chǔcí(楚辭). So I think the melodies of Chinese Buddhist chants were influenced by developments in the Chinese phoneme, because Song is made from language. The phonemes of ancient Chinese letters were read more freely and closely than the after age. The most rigid phoneme period was during the Tang Dynasty, such as the five-seven-five syllable structure. At that time, phonemic syllable structures and Chinese Buddhist chants flowed in Korea. Nowadays the phoneme style of the Middle Ages is still alive in Korea, especially in the Buddhist Beompae chants of Yeongnam province. The Buddhist chants received the traditions of tone of voice and phoneme from the Dang Dynasty. Korean melisma chants related to poetry with a fixed form and the recitation of Dang prose fù(賦). The Buddhis Uigwe contains an explanation of 4 kinds of voice tone. Jakbeobgukgam(作法龜鑑) was written by the Korean Monk, Beakpa. I was able to discover the same contents in the book Yuánhéyùnpǔ(元和韻譜) written by the Chinese monk Chǔzhōng during the Tang dynasty. It heralds from the same age. I also discovered that a little traditions of the 4 tones of voice of the Tang Dynasty is still upheld in the Yeongnam Beompae and in the recitations of the Gyeonggi province referred to in this study. The same phenomenon occurs with the Pali sutra reading style, such as the Peotic Gātha Dhammapada recit musically, the other have a close reading.