earticle

영어

This study attempts a melodic reconstruction of the Hwaeom Wonyungchan (Beopseonggye) score, a 13th–14th century musical manuscript currently held at Shōmyōji Temple in Japan. The score sets to music the Beopseonggye, a seven-character, 30-verse, 210-syllable Buddhist hymn authored by the Silla monk Uisang. Each syllable is marked with a musical notation known as hakase, totaling 210 symbols in the manuscript. These hakase are classified by the number of notes they represent, ranging from single-tone to four-tone forms. Among these, single-tone hakase are the most prevalent, and together with two-tone hakase, they account for approximately 76% of the total. In contrast, four-tone hakase appear in fewer than 5% of cases. The metric structure is organized into eight measures per verse (seven syllables each), rendering the full 30 verses as a 240-measure musical composition. The melodic scale is pentatonic, consisting of the pitches e, g, a, b, and d, with e functioning as the final (tonic). The primary skeletal tones are e, g, b, and d, with e and b playing particularly central roles. A notable feature of the melodic design is the repeated use of the melody from the first six verses, which is reused five times throughout the piece. Additionally, the relatively simple and repetitive nature of the melody suggests that it was designed to be easily sung even by laypeople rather than trained Buddhist chanters. Although the Beopseonggye is no longer chanted in Japan today, the musical setting reconstructed in this study suggests that Uisang’s hymn may have been actively performed in this form at least during the early medieval period. The significance of this study lies in its identification of how a Silla-era Hwaeom Buddhist

한국어

일본 쇼묘지에는 신라 의상 대사 저술의 ｢법성게｣가 ｢화엄원융찬｣이라는 명칭의 13~14세기 악보 세 종류로 전하고 있어, 이 중 좌하카세 악보를 대상으로 선율 복원을 시도했다. ｢화엄원융찬｣(법성게) 7언 30구 210자에는 선율선을 나타내는 하카세가 총 210개 붙어 있다. 하카세는 1음~4음으로 구성되고 장식음 은 없다. 박자 구조는 1구 7언 8소절로, 210자는 240소절의 음악으로 해석되었다. 음계는 ‘eㆍgㆍaㆍbㆍd'’ 의 5음 음계로, 골격음은 ‘eㆍgㆍbㆍd'’이며 특히 ‘e’와 ‘b’가 중요하게 사용되었다. 선율구조의 가장 큰 특징은 제1구~제6구 선율이 다섯 번 반복된다는 점과 전체적으로 비교적 단조로운 선율로 이루어진 점이 다. 이는 첫 6구만 익히면 범패승이 아닌 일반인도 쉽게 끝까지 부를 수 있는 형태임을 말한다. 현재 일본에 서 ｢법성게｣는 불리지 않지만, 본 연구를 통해 중세 초에 음악 형태로 연행되었을 가능성을 분명하게 보여 준다.