충남의 앉은굿 음악 : 안택굿을 중심으로

다국어 초록 (Multilingual Abstract)

Traditionally, Korean shamanism is divided into two: The standing rites of shaman and the seating rites of shaman. While the standing rites of shaman, which are called Gusmu(굿巫), are popular primarily in Seoul & Gyeonggi area and also through out the nation, the seating rites of shaman, which are called Gyeongmu(經巫), have their origin and heredity in Chungcheong area in specific, with national distribution though. While Gusmu is performed by either woman practitioner, Mudang, or man practitioner, Baksoo, accompanied with colorful clothing and dancing, Gyeongmu is performed mostly by man practitioner, Bupsa(法師), without colorful clothing or dancing but by reading the Buddhist scriptures. Bupsa's responsibility includes reciting the Buddhist scriptures orally with different rhythm and volume to fulfill petitioners' wish by turning away bad spirits and inviting good spirits.

The purpose of this study is to examine and analyze the music of the Buddhist scriptures chanting in Anjeun gut, which is the seating rite of shaman. In specific, this study aims to explore the music of Anjeun-gut in Chungcheong area. In fact, the music of Anjeun-gut is designed for the rites not for appreciation. As such, the scope of this study is limited into the music used in rites only.

This study was completed through two methodologies: literature review and data collection. Literature review shows there have been several recent studies of Anjeun-gut, the Buddhist scriptures chanting, and rites practitioners. Though Anjeun-gut has been studied by a few other researchers, the music of Anjeun-gut has not been of their interest. The data for this study were collected from Daejeon and Chungcheong area where Anjeun-gut is relatively popular than any other areas in Korea.

There has been a gap in the heredity of Anjeun-gut and also in the study of music of Anjeun-gut. Those data collected for 4 years in this study indicates that even though Chungcheong area is the origin of Anjeun-gut, it is very hard to hand down Anjeun-gut to next generation in this area. As the result of this, the music of Anjeun-gut was not handed down either. As such, the study of the music of Anjeun-gut was not studied by many researchers and the light should be on it is study.

The results of analysis show that Anjeun-gut in Daejeon and 16 cities and counties in Chungnam area can be divided into 3 big ranges and again into 7 small ranges in detail. 3 big ranges include Gyeong-tori Anjeun-gut musical cultural range (Dangjin county, Taean county, Seosan city, Yeosan country, Hongsung county, Boryeong city, Cheongyang county, Gongju city, Buyeo county, Yeongi county), Menari-tori Anjeun-gut musical cultural range (Daejeon city, Cheonan city, Asan city, Nonsan city, Seochun county), and Yukjabaegi-tori musical cultural range (Geumsan county).

These 3 big ranges can be divided again into 7 small ranges in detail. Gyeong-tori Anjeun-gut musical cultural range is divided into 3 small ranges including north Gyeong-tori range (Dangjin county, Taean county, Seosan city, Hongsung county), south Gyeong-tori range (Yeongi county, Gongju city, Boryeong city), and near by south Gyeong-tori range (Cheongyang county and Buyeo county). Menari-tori Anjeun-gut musical cultural range is divided into 3 small ranges including Menari-tori range (Daejeon city), Menari-tori range near by north Gyeong-tori range (Cheonan city and Asan city), and Menari-tori range near by Yukjabaegi (Nonsan city and Seochun county). Yukjabaegi-tori Anjeun-gut musical cultural range can be divided as Yukjabaegi near by Menari (Geumsan county).

While the range of Anjeun-gut music can be divided and analyzed according to its administrational district as above, musical tori range turns out to be different with its administration district and most of Chungnam area belongs to Gyeong-tori Anjeun-gut music al cultural range. This analysis indicates that the rhythm of Anjeun-gut reciting in northern shaman musical tori has been moved into southern part of Korea while the rhythm of southern Korea has been moved into the northern in musical tori of shaman music (Gyeonggi Dodang-gut is Yukjabaegi-tori for hereditary shaman).

The basic rhythm of Anjeun-gut is 2 Sobak 4 bak and 3 Sobak 4 bak, which is called Saenggibokdeok-gojang(生氣福德 鼓杖) with the occurrence of various rhythm of mixed Sobak types and free rhythm even though there is a little or less variation in its rhythm.

The names of beat, which is called Gojang by Bupsa, are named as ' Oemachigojang', 'Dumachigojang', 'Semachigojang', 'Chumgojang', and 'Makgojang' in general. However, these names and the criteria for name making are different depending on the types of shamans; most of educated shamans make those names borrowed from the Anjeun-gut beat while spirits-heredity shamans do not distinguish the names due to little variation in their beat. As such, each name of beat in local area should be checked with each Bupsa who performed the music in local area since there is no standardized name in beating between them.

The accompanied music instruments used in Anjeun-gut include drum, janggu, small gong, big gong, and half gong. They used to be basin made of brass in stead of small gong and big gong. These instruments were used depending on the section of the music. Still, drum and janggu are accompanied for quiet and smooth mood in the section of reciting Buddhists scriptures, small gong and drum are accompanied together in maximum volume during intermission while Bupsa are able to take breath away. Individual detailed volume of these instruments is under control depending on the contents of each scripture recited.

The basic structure of Anjeun-gut can be expanded into 4 procedures in detail: Cheongshin(請神), Chukwon(祝願), Anjung(安靖), Toeshin(退神). Depending on these procedures, the types of rhythm in musical instruments, volume of reciting, and the contents of Anjeun-gut scriptures are different.

On the procedure of Cheongshin, the contents consist of inviting spirits. Since the spirits in high should be positioned on this procedure, the accompanied music should be relatively gentle with no light mood. Second, on the procedure of Chukwon-Anjung, the contents consist of wishing peace in the household to ancestors. The accompanied music also consists of the mood of plea for mercy. On the procedure of Anjung, spirites in high are in position by reciting Anshingyeong. It is also called Husong(後誦) because it comes late in each section. The accompanied music on this procedure use a little fast tempo and high pitch to prevent any bad spirits to locate good spirits in right position. On the last procedure, Toeshin, the contents consist of saying a word of Buddha and blessing to turn down bad spirits. The accompanied music on this procedure uses fast beat with high pitch and big volume. The way of reciting on this procedure is performed by shouting to turning down any bad spirits.

The tempo of reciting Buddhist has something to do with the speed of language spoken in each region and also with the contents, the meaning, of the scriptures. These days, however, most of the Anjeun-gut sites show that the tempo is chosen due to economical and time limitation rather than the others. This indicates that the whole gut rituals are directly connected with the time required.

The types of rhythm according to lyrics show that most of rhythms are Iljaileum (一字一音 syllabic, one word per 1 rhythm) and neumatik (one word per 2 to 4 rhythm) and sometimes syncopation and Iljadaeum (一字多音 melismatic, one word per many rhythm) often occur.

While the musical range of Anjeun-gut use two octaves, medium range and low range, 3 musical ranges are used only by Cheongyang Bupsa, which is traditionally said only great Bupsa can perform: sangcheong(上淸), jungcheong(中淸), and hacheong(下淸).

This study examines the heredity of Anjeun-gut handed down by Bupsa in Daejeon and Chungnam area including a questionnaire of whether it has traditional Buddhist scriptures. The results show that there is almost no Bupsa who possess it. However, even so, Anjeun-gut is performed relatively active and frequent in Boryeong and Taean area because most of these areas are geologically close to ocean and Gut has been considered very important community activity including Yongwangje (ritual for the mythic Sea Dragon King).

The current situation of becoming Bupsa show that there has been almost no Bupsa who are able to recite traditional scriptures with the command of various beating types among Chungnam Anjeun-gut Bupsa; while traditionally, at least 20 to 30 years ago, Bupsa becomes through intimate relationship between master and pupils and also by education, the current distribution of educated shamans and spirits-heredity shamans in Chungnam show about 50:50 ratio. As such, the performance of scriptures and beating is complete only by spirits.

Korean shaman has been considered to be from a low class in Korean history and society. In order to continue and examine the orthodox Bupsa and Gut in Korea, it is necessary to change social consciousness about the practitioners in shaman, Bupsa, and Gut itself. The study of Anjeun-gut can be accelerated when the social consciousness admit Bupsa as an open career and Gut as a traditional folk.

Since Anjeun-gut has been established as one type of Korean shaman, this study can ultimately contribute to the study of Anjeun-gut and its music in Korean peninsula as well as in Daejeon and Chungcheong area by providing clear and detailed characteristics of Anjeun-gut and its music and their relationships. In this effort, this study will also make it possible to track the moving path of Anjeun-gut in Korean peninsula by examining the cultural scope of Anjeun-gut and its music according to geographic distribution in Korea.