노랫말을 통해 보는 한국 현대사회의 상호종교적 소통구조 – 번역과 의식(儀式)

Abstract

This study investigates an interreligious aspect of Korean modernism based on the examplary vocal text of the some selected composers ‘inside’ Korea and the composers ‘outside’ Korea who were (are) active in Germany. The religion includes in this study cultural symbols that is bound to the collective memory of a society. I selected the song texts in which the religious symbols are shown relatively well in both area. In the vocal works of Geon-Yong Lee, the Song of Field (1994) which based on the text of Gang Baek Lee assumes ‘God’ in the sense of the Korean own religion Cheondo, and the Cantata for the Heenyeon-Jubilee (1991) which based on the text of Jeong Hee Goh assumes the Christian ‘God’. These have different religious contexts but they share a social conciousness. In particular, the cantata for the Cantata for the Heenyeon-Jubilee shows the thought of Korean liberation theology which is important for social engagement. On the other hand, the vocal text of Ak-Jang (樂章 2000) of Man-Bang Lee based on his own poem sings the ‘Eol’(soul) of the Confucian ancestors, and his Chan, Prajῆā-pra-mitā-sutra, Song (讚, 摩訶般若波羅蜜多心經, 頌2004) arranged a new song based on the Prajῆā-pra-mitā-sutra (般若心經) which is sung in Buddhist ritual. The vocal text of Isang Yun which most of all based on Taoism, Buddhism, and Christianity is specially characterised through its interaction with the lyric poems of Nelly Sachs, a female Jewish poet in exile. And The wise man (1977) which mixes the Bible’s Ecclesiastes and Lao-tzu’s Tao Te King implicates the interreligious dialogue between the composer and German scriptwriter in a Christian environment. The emotion of silence in the Goethe’s lyric Parable, on which is based the vocal text of Younghi Pagh-Paan’s Bi-Yu (1999) overlaps with the characteristics of Eastern religious thought. In addition, the several works with the subject ‘Nim’ – a Korean own noun (which means a religious object or homeland or nostalgic person etc.) are connected organically. Since the year 2006 this topic is also connected to the subject ‘light’. The vocal works of the above-mentioned composers except for the text with the mother tongue belong to the category of translational reproduction. They hybridizise culture and religion. As long as composers ‘outside’ their homeland remember their mother tongue and culture, their vocal texts are compatible with the vocal texts of the composer ‘inside’ each other. This interaction of the both-area which materializes traditional religious symbols can be regarded as an aspect of an interreligious ‘ritual’.