경제 안채비소리 성조(聲調)의 수용과 변용 착어성 · 유치성 · 편게성을 중심으로

This paper examines the similarities and differences between the musical characteristics of three different Gyeongge anchaebi sori (chageoseong, yuchiseong, and pyeongeseong), which are Buddhist chants performed inside a temple. Then, this paper subsequently discusses the transformation of their melodic tone. All three styles of Buddhist chants discussed in this paper share the following basic musical characteristics: a three-small-hit irregular rhythm, a musical scale based on menaritori, a range limited to a single octave, and a simple and leisurely melody. However, they also contain subtle differences relating to the unique function and personality of three different Gyeongge anchaebi sori. Our examination of the historical changes of the melodic characteristics of tone reveal that whereas Chinese tone adopts a level tone (平), Gyeongge anchaebi sori adopts a low tone as its level pitch (平聲). The reason for this can be traced back to the level tone (平聲) of middle Korean, the level note (平調) of the Korean musical scale, and the low voice of instruments. It is also estimated that this is intimately associated with the deep and tranquil temperament of Korean people. The tone of the rising and departing tones are unique in that they were originally based on a high pitch, whereas melodies in Gyeongge anchaebi sori have changed to be based on a middle-high pitch. Moreover, the linguistic characteristics of the Seoul and the Gyeonggi area as well as the musical temperament of Seoul- Gyeonggi area Buddhist chants appear to be the cause of this. Indeed, the relatively soft rather than harsh vernacular of this area is effective for conveying the meaning of Buddhist writings and is reflected in the limited melodic range of anchaebi sori. As a result, its simple and leisurely melody limits the diversity and strength of musical expression and appears to be the factor which has limited both tones to a single melody in the middle-high melodic ranger. Although the entering tone (入聲) in China disappeared a long time ago, in Korea the tone has uniquely developed into a variety of forms. This has also combined with the unique linguistic characteristics of the Korean language and Seoul-Gyeonggi area and the musical artistry of Gyeongge Buddhist chants. Unlike in Chinese, the sound of the final consonant when using the entering tone continues to be passed down in Korean. In Buddhist chants as well, the entering tone has remained unchanged. Moreover, in Yuchiseong, the form of the unique melody of jikchok—which derives from the vocalization of the entering tone—has diversified even further. The traditional melodic forms commonly found in anchaebi sori are rather uniform and differ from other simple melodies, while also displaying a musical subtlety which supplements this simplicity. In conclusion, the unique characteristics and change of melody in the tone of Gyeongge anchaebi sori is a result of interactions with the features of middle Korean and the unique characteristics of Korean music itself. Moreover, the musicality of Seoul-Gyeonggi area Buddhist chanting has also had a large influence on the transmission of tone throughout history.