Earticle

초록

영어

Assuming that Buddhist rituals such as Yeongsanjae began in the Goryeo Dynasty, this thesis presumes that Buddhist Chwita-ak also was created in the Goryeo Dynasty. The purposes of this thesis are to demonstrate that the creation of the Buddhist Chwita-ak was based on the Gi-ak (伎樂, a Buddhist ritual music) and the military camp Chwita-ak in the late Joseon Dynasty, and to reveal its significance in the music history. Although the background in the creation of the Buddhist Chwita-ak is complicated, the most typical origins are Gi-ak and the military camp Chwita-ak in the late Joseon Dynasty. The changes and features of Gi-ak are found through the musical instruments in Buddhist paintings such as Buddhist wall paintings in Dunhuang(敦煌), Buddhist paintings in the Goryeo, or Sinjungtaeng(神衆幀) in the Joseon Dynasty. It is known that Buddhist music and military camp music had been in dose relations from ancient times, and the relations were complicated. However, the objects at which this thesis aims are limited to the military camp Chwita-ak in the late Joseon Dynasty. Since the significance of Gi-ak in Korean music history is slight, it is not known how it was transmitted in the Goryeo Dynasty. However, considering that the Buddhist ritual music before Chwita-ak was Gi-ak, and Goryeo was also a Buddhist country following Silla, it is presumed that Buddhist music was not completely discontinued, and the tradition of playing Gi-ak remained in any form. It is considered that the reason why Goryeo's Buddhist Chwita-ak was newly created was because the Gi-ak at that time failed to meet the musical functions required by the then Buddhist society due to its slight role, and the formation of new Buddhist rituals required new ritual music. Furthermore, the reasons why it is deemed that Gi-ak was transmitted as Chwita-ak are that: first, Gi- ak and Buddhist Chwita-ak have been all played at Buddhist rituals; second, the Buddhist ritual music before Buddhist Chwita-ak was Gi-ak; and third, some musical instruments used in the initial Buddhist Chwita-ak existed only in Gi-ak. The military camp Chwita-ak in the late Joseon Dynasty is similar to the initial Buddhist Chwita-ak in features. Because the military camp Chwita-ak was created in the basic environment wherein Ming's military camp Chwita-ak had already been associated with Buddhist music. The reason why the military camp Chwita-ak, which was similar to the initial Buddhist Chwita-ak in features, backgrounded the creation of the Buddhist Chwita-ak is that the military camp Chwita-ak in the late Joseon Dynasty was being recognized as a new music with a focus on hojeok. Furthermore, as the clothing colors of players were changed to those of Naechwi (內吹, a kind of military band), not only the changes in music, the exterior appearance of the military camp Chwita-ak was also accepted. This means that the military camp music directly influenced the creation of the Buddhist Chwita-ak. Although Buddhist Chwita-ak was created after Goryeo Dynasty, it has developed as an independent music by incorporating Gi-ak, the preceding music, and accepting the military camp Chwita-ak, an adjoining music. The Buddhist Chwita-ak has its significance in Korean music history, in that it has succeeded to the tradition of Buddhist music, which has been transmitted from ancient times, it has succeeded to the ancient music culture, and it has succeeded to the music culture of Chwita-ak together with the military camp Chwita-ak.

목차

Ⅰ. 서론
 Ⅱ. 본론
  1. 伎樂의 수용
  2. 군영 취타악의 수용
 Ⅲ. 결론
 Abstract

키워드

저자

• 이숙희 [ Lee Suk-hee | 국립남도국악원 학예연구사. ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  한국음악연구 [STUDIES IN KOREAN MUSIC]

• 간기

  반년간

• pISSN

  1975-4604

• 수록기간

  1975~2025

• 등재여부

  KCI 등재

• 십진분류

  KDC 679 DDC 780