범패, 그 존재 이유와 역할에 대한 고찰

Abstract

In this paper, I have tried to illuminate the Korean beompae through the shamanic music of primitive religions, and the formation and ritual use of religious music around the world. Just as high religion emerged and its precepts and ethics were formed, mental and emotional regulations were also established in music. Unlike ancient primitive religions that praised a vague object of deity, the melody of recitation of the words of saint, the founder of the religion, formed the beginnings of high-religious music. Thereafter sacred and elegant music with restrained feelings differing from secular music was pursued The Gregorian chant, regarded as among the most sacred music in the world today, reflected the music philosophy of theologians at the time. The Confucian ritual music of the Munmyo Jeryeak and Buddhist Beompae chanting reflected the precepts of Chinese music philosophy, and flowed into Korea. While Buddhism was suppressed under the Joseon Dynasty, the spirit and law of Confucian music was maintained. However the Buddhist chant Beompae could not maintain its original spirit. Thus, today's Korean Beompae has a mixture of Korean folk characteristics due to indigenization. Bumpae, handed down by select monks, reached high artistic levels with the addition of individual artistic skills. This is not a problem from a musical, folklore, and cultural perspective, but there is room to think about it from the original religion purpose of Beompae. Taiwan’s great Ven Singwin(星雲) said, “Beompae is originally song for people, not for Buddha or Bodhisattva. If people do not understand, how can it be called Beompae?” Ven Singwin’s words implicitly reference Korean rituals which cannot be understood by those unfamiliar with the Chinese text, and highly technical art song Beompae that are far from the sensibility of today. It is time to discuss the original role of the Beompae, and to ask the question, “What is Beompae?”.