지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
It is widely known that the melodies of beompae (Buddhist ritual music) in Gyeongsang province are mainly performed in menari tori (Korean system to explain scale of regional folk songs with ornamentation). However, the monk Seokbong in Cheonunsa, Masan often sings in yuksabaegi tori when their religious happiness is on the peak, while he sings in menari tori for Buddhist rituals. Some consider this as the “secularization” of religious pieces, but the monk Seokbong insists that it is “tradition“ that elderly monks in the southwestern region have performed it that way for a long time.
The practitioners of shaman rituals in northeastern Gyeongsang province acknowledge that shaman songs have a similar pattern; the tori of shaman songs sung in southwestern Gyeongsang province is called “udo ban-gyeong” and that in northeastern Gyeongsang province is called “jwado ban-gyeong.” The characteristics of udo and jwado ban-gyeong are also found in beompae and minyo(folk songs) as well as shaman songs.
In the past, traditional music in northeastern Gyeongsang province was performed in jwado ban-gyeong and that in southwestern Gyeongsang province was in udo ban-gyeong. Since the practice of traditional music has generally discontinued, however, the practice of traditional music in jwado ban-gyeong is very limited. The practice of beompae in jwado ban-gyeong is found in Busan while that in udo ban-gyeong is found in Masan. The practice of shaman songs in jwado ban-gyeong is present in the regions along the East Sea while that in udo ban-gyeong is present in Tongyeong. The practice of folk songs in jwado ban-gyeong remains in northeastern Gyeongsang province while that in udo ban-gyeong remains in southwestern Gyeongsang province such as Goseong, Tongyeong, Hadong and Jinju.
The pieces in jwado ban-gyeong is composed of Mi, Sol, La, do and re; here, the pitches of Mi, Sol, do and re are a little higher, compared to the central tone La. They end with Mi or La. Their primary tones are Mi, La and do and their intervals are respectively a 4th and a minor 3rd. As far as the ornamentation is concerned, Mi is sung in vibrato and the pitch “re” slides down to “do.” The standard melodic line is Mi-La-do-La-Mi-La or re-do-La-Sol-Mi, which represent typical menari tori.
The scale of udo ban-gyeong has similar tones to, but different intervals from jwado ban-gyeong: Mi, Sol, La, Si, do. The pitches of Mi, Sol, do, re are a little lower, compared to the central tone La. The pitches do and re has got lower and become closer to Si and do of yukjabaegi tori. Pieces in udo ban-gyeong end with Mi or La. Their primary tones are Mi, La and do, but since do has become Si, their intervals are respectively a 4th and a major 2nd. As a result, pieces in udo ban-gyeong sound like yukjabaegi tori. This may suggest that it has gradually changed like this when music for the common people from northeastern region was adopted in southwestern region. In conclusion, the fact the monk Seokbong sings beompae in yukjabaegi tori is not a recent phenomenon, but this is also found in other music genres for the common people such as shaman songs and folk songs in southwestern Gyeongsang province.
The practitioners of shaman rituals in northeastern Gyeongsang province acknowledge that shaman songs have a similar pattern; the tori of shaman songs sung in southwestern Gyeongsang province is called “udo ban-gyeong” and that in northeastern Gyeongsang province is called “jwado ban-gyeong.” The characteristics of udo and jwado ban-gyeong are also found in beompae and minyo(folk songs) as well as shaman songs.
In the past, traditional music in northeastern Gyeongsang province was performed in jwado ban-gyeong and that in southwestern Gyeongsang province was in udo ban-gyeong. Since the practice of traditional music has generally discontinued, however, the practice of traditional music in jwado ban-gyeong is very limited. The practice of beompae in jwado ban-gyeong is found in Busan while that in udo ban-gyeong is found in Masan. The practice of shaman songs in jwado ban-gyeong is present in the regions along the East Sea while that in udo ban-gyeong is present in Tongyeong. The practice of folk songs in jwado ban-gyeong remains in northeastern Gyeongsang province while that in udo ban-gyeong remains in southwestern Gyeongsang province such as Goseong, Tongyeong, Hadong and Jinju.
The pieces in jwado ban-gyeong is composed of Mi, Sol, La, do and re; here, the pitches of Mi, Sol, do and re are a little higher, compared to the central tone La. They end with Mi or La. Their primary tones are Mi, La and do and their intervals are respectively a 4th and a minor 3rd. As far as the ornamentation is concerned, Mi is sung in vibrato and the pitch “re” slides down to “do.” The standard melodic line is Mi-La-do-La-Mi-La or re-do-La-Sol-Mi, which represent typical menari tori.
The scale of udo ban-gyeong has similar tones to, but different intervals from jwado ban-gyeong: Mi, Sol, La, Si, do. The pitches of Mi, Sol, do, re are a little lower, compared to the central tone La. The pitches do and re has got lower and become closer to Si and do of yukjabaegi tori. Pieces in udo ban-gyeong end with Mi or La. Their primary tones are Mi, La and do, but since do has become Si, their intervals are respectively a 4th and a major 2nd. As a result, pieces in udo ban-gyeong sound like yukjabaegi tori. This may suggest that it has gradually changed like this when music for the common people from northeastern region was adopted in southwestern region. In conclusion, the fact the monk Seokbong sings beompae in yukjabaegi tori is not a recent phenomenon, but this is also found in other music genres for the common people such as shaman songs and folk songs in southwestern Gyeongsang province.
목차
Ⅰ. 머리말
Ⅱ. 경상 서남지역(통영) 무가에 나타나는 우도반경
Ⅲ. 경남 서남지역 민요에 나타나는 우도반경
Ⅳ. 불모산제 범패의 우도반경 성음의 음악적 특징
Ⅴ. 불모산 범패의 우도반경 성음의 당위성
Ⅵ. 맺는말
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