曹學乳의 생애와 讚佛歌 연구 = The Development of Modern Buddhist Music in Korea -Special Emphasis on Mr. Cho Hakyu"s Career and his Contribution to the Popularization of “Chanbulga”-

국문 초록 (Abstract)

  찬불가의 성립과 전개과정 및 음악적 특성에 대한 연구는 이제 시작 단계에 머물고 있다. 본 논문은 찬불가를 통한 불교포교운동을 전개한 승려 조학유의 생애와 그가 1926년부터 1927년에 걸쳐 불교잡지『佛敎』에 연재한 찬불가 24곡을 중심으로 찬불가의 성립과 전개과정을 규명하였다.<BR>  찬불가의 성립에 있어서 결정적인 동인이 된 것은 1911년 일본의 사찰령에 의한 승려의 범패와 무용의 금지라고 할 수 있으며, 근대불교음악의 전개과정에 나타난 ‘창가’나 ‘불교창가’ 그리고 ‘찬불가’라고 불리던 외래음악 기법으로 된 음악의 수용은 불교개혁운동의 일환으로 추진된 불교의식의 근대화, 불교일요학교를 통한 포교, 그리고 각종 불교단체주관의 행사 및 강연회를 통해 이루어졌다고 보았다.<BR>  본 연구에서 조학유가『佛敎』에 연재한 찬불가 24곡을 분석한 결과, 24곡 중 미확인된 6곡을 제외한 16곡이 한국보다 앞서 근대불교 음악의 발전을 이룩한 일본의 찬불가, 혹은 일본 창가 그리고 일본군가에서 일부선율 또는 전체선율이 차용되었음을 밝혔으며 이것으로써 그동안 작곡자 미상으로 알려져 있던 조학유의『佛敎』연재 찬불가의 출처가 명확히 규명되었다. 이들 찬불가의 음악적 특성 또한 대부분의 곡들에서 근대 초기 일본 창가의 전형적인 특징인 2/4 또는 4/4박자로 된 16마디 두 도막 형식에「파」와「시」가 생략된 ‘요나누끼 장음계’의 특징이 나타나 조학유의 찬불가가 일본음악의 영향을 강하게 받고 있음을 밝혔다.

다국어 초록 (Multilingual Abstract)

  The “Chanbulga”(Buddha Anthem) has been created under the influence of the foreign music since modern times in Korea. Although the history of “Chanbulga” is only about eighty years, it has played an important role in performing the current Buddhist ritual in the temples, and recently its role has become to increase. However, despites its importance, the study on establishment of “Chanbulga” or its development has not progressed sufficient enough. Especially, the study of analysis on the musical characteristics of “Chanbulga” has remained in the beginning stage.<BR>  Therefore, in this paper, I paid attention to the important roles played by reformist Buddhist monks who edited “Chanbulga” books. Among these reformist Buddhist monks, it is worth while to notice that Mr. Cho Hakyu has engaged in editing these “Chanbulga” books. In relation to his activity, I tried to describe his career backgroundand examine the establishment of “Chanbulga” in this period, and also point out the musical characteristics of “Chanbulga” through the analysis of 24 “Chanbulga” appeared in the Journal “Buddhism” published between 1926 and 1927.<BR>  Regarding themain drive towards the establishment of “Chanbulga” in Korea, it will be important to point out that the Japanese government has banned the Buddhist monks’ dancing and “Pumpae” (chant in Buddhist ritual) singing in the temples under the colonization. Also, it will be important to realize that the introduction of foreign types of musical methods such as “Changga”(Song), “Bulgyo Changga”(Buddhist Song), “Chanbulga” etc. has depended on such influences as the modernization of Buddhist ritual, missions in the Sunday schools of temples, and various kinds of events and lectures promoted by Buddhist groups etc.<BR>  As a result of the analysis of 24 “Chanbulga” that Mr. Cho edited in the Journal “Buddhism”, I found several findings as the characteristics of Buddhist songs in this period. Firstly, I found that among these, 16 songs except uncertain 6 songs have adopted the whole or parts of melody and rhythm of Japanese “Chanbulga “, “Ilbon Changga”, (Japanese Song)and “Gunga” (War Song) etc. Although the composers of these “Chanbulga” that Mr. Cho edited in 1920s were unknown for a long time, the sources of 16 “Chanbulga” were identified through this analysis.<BR>  Secondly, as the musical characteristics of these “Chanbulga”, I found that most of them have adopted the typical Japanese rhythm such as “musical scales except four and seven” consisting of 16 phrases based on two/four time or quadruple time represented by “Ilbon Changga” appeared in the early modern times of Japan. We need to highly evaluate Mr. Cho’s activity and his contribution to the popularization of Buddhist music through the establishment of “Chanbulga” as a Buddhist monk in order to reform the modern Korean Buddhism.<BR>  Despites his valuable contribution, it is regrettable that he could not overcome the difficulties to depend on the Japanese culture in those days conditions, though he realized the supremacy of “Pumpae”(Buddhist ritual music) based on a traditional Korean Buddhist music.

목차 (Table of Contents)

• 국문 초록
  Ⅰ. 들어가는 말
  Ⅱ. 개항기 이후 불교계의 동향과 외래음악 수용
  Ⅲ. 일본의 찬불가집 출판과 불교일요학교
  Ⅳ. 조학유의 생애와 불교개혁운동
  Ⅴ. 조학유『불교』연재 찬불가에 대한 분석
  Ⅵ. 나오는 말
  참고 문헌
  〈Abstract〉
  

참고문헌 (Reference)

1 박범훈, "한국불교음악사연구" 藏經閣 2000

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3 안병길, "근대불교음악의 연구" 1999

4 魯棟銀, "韓國近代音樂史1" 한길사 1995

5 "韓國近代佛敎의 現實認識" 民族社 1998

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7 金敬執, "韓國近代佛敎史" 經書院 1998

8 東國大釋林會, "韓國佛敎現代史" 時空社 1997

9 "韓國佛敎改革論硏究" 圖書出版海印杏 2001

10 이미향, "韓國における音の究 -史と現" 2005

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12 佛敎史學會편, "近代韓國佛敎史論" 민족사 1988

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14 李能和 著, "朝鮮佛敎通史下" 博英社 1980

15 ホアキンMベニス地土井志保, "明治40年出版『讚佛歌』における讚美歌の借用" 東洋音樂學會 (66) : 2001

16 "新聞 및 雜誌"

17 "敎文と 警醒社" 1903

18 "姜昔珠朴敬勛" 中央日報社 1980

19 "國定敎科書共同販賣所" 1906

20 "佛敎新聞社編" 불교시대사 1994

21 "佛敎史學會編" 民族社 1988