13~14세기 일본 쇼묘 악보로 전하는 「법성게」의 이중 선율 구조

초록

This study aims to identify the dual melodic structure of the Beopseong-ge (also known as Hwaeom-won-yung-chan), composed by Uisang of Silla and preserved in three types of Japanese Shōmyō notations from the 13th and 14th centuries. An analysis of the Hwaeom-won-yung-chan notations housed at Shōmyōji Temple reveals that the left and right-hakase notation is a combination of the left hakase and right-hakase notations. The distinct differences between the left and right melodies confirm that Beopseong-ge was performed in two different melodic styles in medieval Japan. The left-hakase notation features a limited variety of hakase (20 types) with simple melodic structures (1–4 notes per unit) and a repetitive structure in every six phrases. This indicates a style intended for easy recitation and communal chanting by the general public. In contrast, the right-hakase notation consists of a wider variety of hakase (40 types) and complex melodies (1–8 notes per unit) incorporating decorative techniques. Its lack of repetitive patterns and metric indication suggests a structure suited for experts or professional ritual monks. These differences between the left and right melodies correspond to the aspects of Silla Beompae performed at Chuksan-won in Shandong during the 9th century. The simple left-hakase melody aligns with the characteristics of the Silla-style Beompae sung collectively, while the complex right-hakase melody evokes the Tang-style Beompae -characterized by intricate melodic curves -typically performed solo by an expert monk. There are historical limitations, such as the temporal gap between 9th-century Beompae and 14th-century Shōmyō and the influence of Japan’s New Buddhism. Given that Shōmyōji was an important center of Nanto and Hwaeom Buddhism, these musical records are significant in that they suggest one aspect of Silla Beompae. Future integrated research involving comparative studies with other medieval Japanese Shōmyō notations and the discovery of additional sources is expected to contribute to the expansion of the comparative studies in Korean and Japanese Buddhist music.

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