The Melodic Structure and Musical Aspects of 〈Cheonsu-bara〉 in Busan Yeongsanjae Beompae - Focusing on the Vocals of Successors Daewon and Seongrim -

This study aims to identify the practical musical aspects of contemporary Beompae by analyzing the melodic characteristics and patterns of Cheonsubara performed by Daewon and Seongrim, successors of the Busan Yeongsanjae tradition, and comparing them with the music of previous generations. The research results are summarized as follows. First, the Cheonsu-bara Beompae of the Busan Yeongsanjae is not a Busan-specific tradition. It originated from the monk Yeongpa and was transmitted through successive generations of Cheonggong, Boryeon, and Hyehwa. Its regional characteristics were further solidified through the addition of local stylistic elements associated with Busan. Second, the Cheonsu-bara uses a traditional Korean rhythmic system of three–four and four―four rhythmic patterns. As it was standardized to accompany Buddhist rituals, it emphasizes musical completeness and ritual symbolism rather than the semantic content of the lyrics. Third, the accompanying instruments include the gwangsoe, taejing, daegoo, moktak, and taepyeongso. The taepyeongso is the only melodic instrument, but it plays a unique melody inherited from folk musical traditions. In the case of the Busan Yeongsanjae, even in free-spirited performances, the Cheonsu-bara melody was often used. Fourth, the tempo of the Beompae was initially slow at ♩.=60, but gradually increased, reaching ♩.=78 in the latter half. This change occurred equally across all masters, including the first holder, Venerable Guam; the honorary transmission educator, Venerable Boam; and the transmission educators, Daewon and Seongrim. However, while the gradual change in singing speed can be viewed as a variable element from a musical perspective, a thorough reconsideration of the acceleration tendency and tempo deviations is necessary for organic integration with Jakbeopmu and harmonious transmission. Fifth, the percussion accompaniment rhythm is clear and systematic, with beats ranging from three to four and five to six. Furthermore, while the final lyric, “Sabaha,” was omitted in the past, it is now clearly pronounced. This is interpreted as the result of adapting flexibly in the field of transmission to enhance the communicative power of the lyrics and sound. Sixth, The Cheonsu-bara performed by Daewon and Seongnim is fundamentally based on the Menari-tori style, sharing the same vocal range, starting and concluding notes, and climax. However, Daewon exhibits a unique melodic structure characterized by prominent disjunct motions under the influence of Boam, whereas Seongnim pursues a natural melodic flow centered on conjunct motions. Simultaneously, within the context of live transmission, they influence each other’s vocalizations, creating a natural heterophony that establishes complex melodic layers and enhances the overall musical richness.