광주광역시 율곡사 지장재일 법회의 음악연행 양상 = Aspects of Music Performance at the Ksitigarbha Day (Jijangjaeil) Buddhist ceremony at Yulgoksa Temple in Gwangju

다국어 초록 (Multilingual Abstract)

This article describes characteristics of the Cholla Province Style(Wanje) AnchaeBi-sori performed at the Ksitigarbha Day (Jijangjaeil), a regular Buddhist service held at a temple for the purpose of missionary work. Monk Hyeryeong, who has the chants at the Gwangju Yeongsanjae, an intangible cultural heritage of Gwangju Metropolitan City that has inherited the lineage of the Honamje (Jeonbukje + Gyeongje) Beompae and has inherited the musical grammar unique to the Chola Province, studied the music performed as Anchae Bi-sori at the Jijangjaeil Buddhist service of Yulgoksa Temple that he runs. Through this study, we examined the characteristics of how Monk Eojang, who specialized in Beompae, composed the AnchaeBi-sori of the regular Buddhist service.
The Jijangjaeil ritual procedure held at Yulgoksa Temple in Gwangju consisted of four sections: ‘Doryang Jeonghwa-Socheong-Gongyang-Chukwon’. Over 60 pieces of music were performed according to the detailed procedures. The ‘Bongsong’ that was omitted in the last ritual must be performed. The singing style uses 'Solo chanting' and 'Harmonious chanting', and moktak and yoryeong(rim bell) are used as accompaniment instruments. Solo chanting is accompanied by five types of accompaniments: ‘moktak,’ ‘yoryeong’ ‘yoryeong+moktak,’ ‘unaccompanied+ yoryeong’ and ‘moktak+unaccompanied,’ but Harmonious chanting is accompanied only by moktak. The accompaniment functions to signal the beginning and the end of the ritual, and yoryeong plays a prominent role in emphasizing important parts of the ritual. The musical tone is divided into four types: a type that continues a piece with Yukjabaegi tori or Gyeongtori, a Menari tori type with Yukjabaegi sigimsae inserted, and a mixed type of yukjabaegi tori and gyeongtori. The characteristic of Hyeryeong’s anchaebi-sori is that the musical elements of yukjabaegi tori appear in most of the pieces except for gyeongtori.
When examining the rhythm structure and music-making method according to the rhythmic characteristics, Yeombuljo often uses two-beat rhythms and is sung quickly by adding one or two notes to a one-beat rhythm. While the Harmonious chanting of Yeombuljo use simple, similar melodies that believers can easily sing along to, when sung in Solo chanting, it shows the musicality of Anchaebi, who shows active melody movements across the entire range by mixing the Yukjabaegi tori and the Gyeongtori. Because of these characteristics, 〈Cheongsa〉 shows different aspects from the Cheongsa style of ‘low-pitched and flat’ in Gyeongje. Ban-yeombuljo has many two-beat rhythms, but three-beat rhythms are also used depending on the number of syllables in the lyrics. The use of syncopated notes is characteristic, and music is made in the same way as the Yuchi-seong of Gyeongje, which ends the phrase with its own ‘making sound’, but there is no use of the unique and restrained ‘direct touch’. Hotsolijo is used in music that is sung to Ksitigarbha with the utmost respect. It generally uses two-beat rhythms at a slow pace, and has the characteristic of showing craftsmanship by connecting two to ten notes per syllable.