학술논문
몽골 ‘참’과 한국 ‘영산재’의 비교 연구
이용수 5
- 영문명
- Comparative Study of Mongol’s ‘Tsam’ with Korea’s ‘Yeongsanjae’
- 발행기관
- 한국몽골학회
- 저자명
- 박소현(Park, So-hyun)
- 간행물 정보
- 『몽골학』제32호, 415~439쪽, 전체 25쪽
- 주제분류
- 인문학 > 기타인문학
- 파일형태
- 발행일자
- 2012.02.28
5,800원
구매일시로부터 72시간 이내에 다운로드 가능합니다.
이 학술논문 정보는 (주)교보문고와 각 발행기관 사이에 저작물 이용 계약이 체결된 것으로, 교보문고를 통해 제공되고 있습니다.
국문 초록
영문 초록
The purpose of this study was to discuss potential correlations of Mongol’s Tsam with Korea’s Yeongsanjae - both of which have been performed in a common context of Buddhist ritual - in their historical, religious and musical cultural context with regard to religious ceremony or musical culture. Mongol’s Tsam has a common point with Korea’s Yeongsanjae: Both originated from their contemporary age, i.e. Yuan and Goryeo Dynasty respectively. In religious aspect, Mongol’s Tsam is in the same context with Korea’s Yeongsanjae in the sense that both aims to make a wish for supreme bliss by seeking Buddhist canon. However, these two ceremonies are somewhat different from each other in that the former has a strong sense of expelling sundry evil spirits, whereas the latter is a sort of service for the repose of any departed soul to live eternally in the paradise. As to ritual performance, Mongol’s Tsam is a Mongolian traditional mask dance that is characterized by a Buddhist ritual based on comprehensive performing art - in a harmony of theater, dance and music - with strong theatrical nature, whereas Korea’s Yeongsanjae are performed primarily with singing and dancing. Both Tsam and Yeongsanjae are common with each other in the musical orchestration of wind instrument and percussion, and their orchestration is also composed of comparable wind instrument (Mongol’s bishguur and Korea’s Taepyeongso) for major melodic developments. In the strict sense, however, Tsam is musically different from Yeongsanjae: The former is consistently played with regular rhythm patterns and repetend based on quadruple time and pentatonic scale, while the latter is characterized by appropriate use of various musical pieces under the ritual on the basis of triple time and hexatonic scale. Moreover, the latter is also characterized by the insertion of original sound in parallel with Sigimsae, a unique style of Korean traditional music, so it is performed in more complex melodic lines than the former. Currently, Mongol’s Tsam has been restored by old lama priests in 1990’s, but has been modeled after Tibetan style of Tsam for more precise musical restoration. Here, it is notable that the archetype (original form) of Mongol’s Tsam, a prosperous Mongolian musical style in the 18th to 19th century, has been not fully restored. In the same context, it is necessary to make a further and sufficient series of follow-up studies on Korea’s Yeongsanjae in order to restore its full archetype from the past, although it has been also recently downscaled.
목차
Ⅰ. 서론
Ⅱ. 시대적 맥락
Ⅲ. 종의적 맥락
Ⅳ. 음악문화적 맥락
Ⅴ. 마무리
해당간행물 수록 논문
- 몽골의 인장에 나타난 알항헤(망치문양)디자인의 상징성
- 현대 튀르크계 언어들에서 샤먼 관련 어휘
- 요사(遼史) 국어해(國語解)의 거란어 연구
- 몽골 자원기반 경제와 재정정책 과제
- <蒙語類解>에 나타난 동물 관련 어휘 검토
- 몽골어의 ǰil ‘해, 년’과 hon ‘해, 년’에 대하여
- 몽골어 접속문 연구
- 내륙 아시아 불교 세계와 “묀람첸모(smon lam chen mo)”
- 현대 몽골의 문자개혁 과정 분석과 특징 연구
- Монгол ардын дууны судлалын зарим асуудалд
- 몽골 오이라드 영웅서사시 전통과 연행의 특성
- 멍흐하이르항산 주변 알타이
- Монгол хэлний орон цагийн нэр ба шууд бус нэрлэлт
- 몽골 ‘참’과 한국 ‘영산재’의 비교 연구
참고문헌
관련논문
최근 이용한 논문
교보eBook 첫 방문을 환영 합니다!
신규가입 혜택 지급이 완료 되었습니다.
바로 사용 가능한 교보e캐시 1,000원 (유효기간 7일)
지금 바로 교보eBook의 다양한 콘텐츠를 이용해 보세요!