스리랑카 찬팅율조와 공양타주 = A Study on the Buddhist Chants and the Sri Lankan Music

다국어 초록 (Multilingual Abstract)

In this study, I researched thes chanting melody and the performing arts of Sri Lankan Buddhist ceremonies by investigation in Sri Lanka. It can be summarized as four brief contents. First Sri Lankan monk is pronounced as “Namo tass~”, unlike “Namo Tassa~” in Myanmar. The Pali chanting melody of Myanmar is very simple and smooth but there are more vibrato and ornamental tones in Sri Lankan melodies. It is the same as any Buddhist sect introduced from Thailand or Myanmar. By this fact I could estimate that they have kept their original Pali reciting tone, even though the tradition was broken during the period of western colonization. Secondly, taking a broad view, there are two features of the melody. One is slow melisma; another is a moderate tempo rhythm. Also, the melody pattern of the nightlong Paritta Chanting becomes gradually faster. Beside that, the melody and rhythm of the Horanava (Sri Lankan Trumpet) is a conjunctive motion including micro tones at a range of within every 6th interval. The melodic types are two kind of like chanting style, and so it resembles the chanting melody. Third, the chanting tone came from the early Buddhist Sangham in North India, which is related to the Veda chanting melody and raga. I was surprised that Sri Lankan chanting is closer to Korean traditional melody and vocalization than any other Buddhist country. Fourth, there are many ‘um’ 음 vowel sounds and some melody with ornament tones in Sri Lankan chants. The two features are similar to Korean Buddhist chants, i.e. Yongnam pomp`ae 嶺南 梵唄 (the Buddhist chant of Yongnam region). And the moderate rhythm pattern resembles the Korean rhythmic cycle known as ommori changdan 엇모리장단. The words of Indian Buddhist Sutra effected the formation of the Chinese phoneme, and the melodies of Chinese Buddhist chants were influenced by Indian Buddhist chants. It is very significant that the Sri Lankan chanting melody and the Korean Yongnam pomp`ae, which maintains the Buddhist modes of Tang Chinese style, have some similarity. There is much scope for study on the relationship between the music of Korea and India.