earticle

영어

This paper analyses the metric structure immanent in the music of Dokgyeong (lit. Sutra reading) performed by blind men in order to determine the cycle of jangdan based on its traditional concept. Three types of performance are found in the ritual of Dokgyeong conducted in Seoul. The first is simply ‘reading [讀]’ whereas the second is ‘chanting[誦]’ Sutra. The rest is ‘singing[唱]’ Sutra. The musical concepts of tempo and meter can be traced only in the third type, especially from the style of leader/chorus call and response singing by a group of blind performers. In wish for bringing good luck, blind performers sing Sutra for those who want the service. The metric structure ranges variously from 3 sobak 6 bak(6 main rhythmic units called ‘botongbak’ respectively composing a pulse beat with 3 smaller rhythmic units grouped for each main rhythmic unit in its deep structure), 2 sobak 6 bak, 3 sobak 5 bak, 2 sobak 5 bak, compounded sobak 4 bak, 2 sobak 4 bak, compounded sobak 3 bak, 2 sobak 3 bak, 3 sobak 2 bak to 2 sobak 2 bak and others. If these are converted into the traditional cycle of jangdan, they corresponds respectively, in order of appearance, to 3 sobak 12 bak 2 sobak 12 bak, 3 sobak 10 bak 2 sobak 10 bak, compounded 6 bak․2 sobak 6 bak, Compounded sobak 4 bak 3 sobak 4 bak 2 sobak 4 bak. The result shows that the kinds of jangdan used in Dokgyeong can be categorized into 12 bak, 10 bak, 6 bak and 4 bak. The solo Sutra singing is more liberal in varying jangdan in its music, still centering upon the metric structure of 3 sobak 4 bak or 2 sobak 4 bak inrregularly. It is noticeable that performers of Dokgyeong in Seoul clearly understand that compounded jangdan is different from the others. However they consider 3 sobak to be same as 2 sobak. Accordingly do not distinguish 3 sobak 6 bak structure from that of 2 sobak 6 bak, nor they do 3 sobak 5 bak from 2 sobak 5 bak, 3 sobak 4 bak from 2 sobak 4 bak. They regard the relation of 3 sobak 5 bak and 2 sobak 5 bak, 3 sobak 4 bak and 2 sobak 4 bak as natural transition of tempo. Sungyeong(standing Sutra singing) of all Dokgyeong in call and response style has a change of jangdan tempo from slowest to fastest via moderate tempo. Ritual of Dokgyeong in Seoul is performed by blind men being seated. When the ritual comes towards the end three monk stand up to do Sutra chanting. This is a unique style of Dokgyeong which can be compared to ‘Dwitjeon’(post amusement sequence after the main shamanistic ritual). In case of Jeseok Sungyeong, tempo progress from 10 bak ➝ 5 bak ➝ 4 bak, Seongju sungyeong, it changes from 12 bak ➝ 6 bak ➝ 4 bak with the alleviated atmosphere from increased tempo and melody. The compounded jangdan shown in Sungyeong can also be found in hwacheong of Buddhist music and Cheongbae of Shamanistic music. The interrelationship among them will be another topic for further study. The various kinds of jangdan found in Dokgyeong is derived from the uniqueness of Dokgyeong music of Seoul area. Unlike the Dokgyeong of other regions where one or two perform the ritual, that of Seoul area is performed by 3~108 blind performers. With more number of Dokgyeong performers, it naturally developed into a leader/chorus call and response singing style. The irregular text written in Korean seems to have helped the music styled into a regular tempo and jangdan. The unique variety of jangdan found only in Seoul Dokgyeong has made the music very much indigenous. It also raises a new question about the interrelationship among the music of Buddhism and Shanamism.

한국어

이 글은 서울지역의 맹인 독경음악에 내재해 있는 박자구조를 살펴보고 장단의 주기를 도출해 본 것이다. 서울의 독경은 경문을 읽는[讀] 형태와 읊는[誦] 형태, 노래하는[唱] 형태로 나눌 수 있으며 박자와 장단은 이 가운데 노래하는[唱] 부분에서 찾아볼 수 있다. 서울 독경음악에서 규칙박자는 선후창이나 합창에서 사용되며 3소박 6박자(18/8), 2소박 6박자(6/4), 3소박 5박자(15/8), 2소박 5박자(5/4), 혼소박 4박자(10/8), 2소박 4박자(4/4), 혼소박 3박자(8/8), 2소박 3박 자(3/4), 이외에도 3소박 2박자(6/8)와 2소박 2박자(2/4) 등이 있다. 전통적인 장단주기로 변환하면 3소박 12박, 2소박 12박, 3소박 10박, 2소박 10박, 혼소박 6박, 2소박 6박, 혼소박 4박, 3소박 4박, 2소박 4박 등으로 정리할 수 있다. 독창의 경우 3소박 4박자나 2소박 4박자가 중심이 되면서도 불규칙하게 운용되 는 점이 특징이다. 이들 장단은 대부분 타 음악 부문에서 쓰이는 장단과 형태를 공유하고 있으나 유독 <분향진언>의 3소박 12박 장단과 <성주선경> 초장의 2소박 12박 장단은 사설붙임과 리듬에서 독특 한 점이 주목된다. 서울 독경의 장단 변화는 특히 의식의 끝부분에 진행되는 선경[立讀]에서 두드러지게 나타나며, 이 때 만·중·삭의 빠르기로 장단이 변화한다. 제석선경은 10박 ➝ 6박 ➝ 5박 ➝ 4박의 주기로 나아가며, 성주선경은 12박➝6박➝4박의 점점 짧은 주기의 장단으로 마무리한다. 서울지역 독경 장단의 다양성은 다수가 무리를 이루어 거행하던 의식 관행에서 비롯된 것으로서, 집 단적 가창방식인 선후창과 합창이 발달하였으며, 불규칙한 우리말 경문을 노래해야 할 필요성에서 장 단의 틀이 갖추어지게 된 것으로 보인다.