범패를 이용한 실시간 인터랙티브 멀티미디어음악 제작 연구 : 멀티미디어음악 작품 <Aruna>를 중심으로

강신애 동국대학교 2016 국내석사

Bumpae is a kind of Buddhist music when monks perform ancestral rites for Buddha. Bumpae includes dancing, singing, and playing instruments. The songs of Bumpae have a unique feature which uses vowels to connect each letter of scriptures. So, the vowels have taken the largest part of the songs of Bumpae. In this study, a song ‘Bokcheongge’ is selected. This study focuses on the feature of Bumpae and has developed a sound effector and a video system for it. The sound effector produces sound which has the same vocality of original sound by using real-time formant analysis and resynthesis technique. So, this effector can give different effects such as delay effectors used for vocals which cannot be naturally produced. Next, the video system has been made for implying meaning of the lyrics of Bumpae. Sound visualization techniques have been used. All colors and shapes used have been selected based on buddhistic world view. The pitch and amplitude variation affects the shape, size, and color of objects in the system. Combination of the sound effector and video system can create a synergy effect while making a new impression to the audience.

중요 무형문화재 제 50호 영산재 천수바라춤 연구 : 지방 문화재 제 22호 마산 불모산 영산재 천수바라춤 비교 중심으로

최우정 동국대학교 문화예술대학원 2007 국내석사

Yeongsanjae is the flower of Buddhist culture. The present study conducted comparative analysis of Intangible Cultural Asset No. 50 Yeongsanjae at the Bongwon-sa Temple and Gyeongsangnam-do Provincial Intangible Cultural Asset No. 22 Yeongsanjae in Mt. Bulmo, focused on Buddhist ritual dance Cheonsubara. Conclusions drawn from this study are as follows. First, Yeongsanjae is an offering ceremony symbolizing the scene of the Buddhist mass in Mt. Yeongchui where Buddha taught people. Yeongsanjae is composed of a total of 13 steps, and Cheonsubara Dance is performed in Sangdangwongong and Unsusangdangwongong. Second, the offering ceremony made by body motions is called Jakbeop. The Bara Dance, which is a type of Jakbeop, is generally divided into seven forms - Cheonsubara, Sadaranibara, Myeongbara, Gwanyoksoibara, Naerimgyebara, Hwaeuijineonbara and Yojapbara - but the Mt. Bulmo Bara Dance is divided into six forms - Cheonsubara, Sadaranibara, Myeongbara, Gwanyoksoibara, Hwaeuijineonbara and Yojapbara. Third, four types of Jakbeop (Bara, Nabi, Beopgo and Taju) are handed down in Yeongsanjae, but Mt. Bulmo Yeongsanjae does not separate Taju Dance but includes it in Nabi Dance and the details of the Taju Jakbeop have not handed down. Thus, Taju Dance is not performed in Mt. Bulmo Yeongsanjae. Fourth, Cheonsubara Dance is performed to the verse of Sinmyojanggudaedarani, but Cheonsubara Dance at the Bongwon-sa Temple is much different from that in Mt. Bulmo. Although the verse is the same in the musical aspect, ♩= 88-92 in the Bongwon-sa Temple and ♩= 60-77 in Mt. Bulmo. As for musical instruments, the Bongwon-sa Temple uses Taejing while Mt. Bulmo uses Gwangsoi, and the Bongwon-sa Temple uses B flat while Mt. Bulmo uses G flat. In addition, the Bongwon-sa Temple takes 5 minutes 5 seconds while Mt. Bulmo takes 7 minutes 40 seconds, so 2 minutes 35 seconds longer. Fifth, from the aspect of dance, the motions in the Bara Dance of the Bongwon-sa Temple are graceful and small, and are not many, but the motions in the Bara Dance of Mt. Bulmo are gaudy and large. In the Bara Dance, motions such as lifting up and down the Baras, dividing the Baras, turning the Baras over the back, preparing and saluting are largely similar, but if they are examined closely, the elegant motions in the Bara Dance of the Bongwon-sa Temple do not put the Baras beyond the back end of the head and do not lower them below the navel. In contrast, the gaudy motions in the Bara Dance of Mt. Bulmo put the Baras up to the back shoulders and lower them below the navel. Sixth, the Bara Dance in Mt. Bulmo has four additional motions - turning to the right, turning to the left, throwing the Baras, and opening the Baras slowly. These motions make the Bara Dance of Mt. Bulmo look more flowery, valiant and powerful. Seventh, Yeongsanjae is a Buddhist ritual and at the same time a play. For example, in Mt. Bulmo Yeongsanjae, the monks raise their voice first, asking “Is there Priest Jongdu?” Then, there is a reply, saying “Who are there?” This shows that Yeongsanjae is a total art integrating music, dance and play. Eighth, there are a number of theories on the transmission of Yeongsanjae, but no record has been found that shows the exact history of its transmission. Yeongsanjae, which was reduced from three days to one day as it is today, is performed on Dano (May 5th in the lunar calendar) every year at the Bongwon-sa Temple located at Sinchon, Seoul and in Mt. Bulmo. Many people visit the Bongwon-sa Temple to watch Yeongsanjae, but in a video showing Mt. Bulmo only a small number of people appear to participate in Mt. Bulmo Yeongsanjae because it is not known widely. In order to open the way to Buddhist culture for the world and for each individual, we need to preserve, refine and hand down Yeongsanjae. This study is meaningful in that Cheonsubara, which is danced with the deep metallic sound of the Baras and Buddhist chants, is our beautiful dance that gives the experience of freedom from all ideas and thoughts and fascinates the audience. Although research materials were not sufficient, the joy that the present author experienced while searching for data through the research period is probably because dancing is as ecstatic as awakening. To supplement insufficient materials on Yeongsanjae, the present study compared Cheonsubara Dance from different provinces, and expects the results to contribute to the accurate understanding of Cheonsubara Dance and the development of Buddhist dance.

영산재 속 바라춤을 기반으로 한 작품 “再生”의 창작 과정 연구

백경아 중앙대학교 대학원 2022 국내석사

This study recreated the work “再生” by giving the meaning of the act of purification of the “Bara” based on Bara Dance in Yeongsanjae. Yeongsanjae, registered as a UNESCO World Intangible Cultural Heritage, has a total of 13 ritual procedures that leads the souls a way to heaven. Among the rituals of Yeongsanjae, Bara Dance is a Buddhist ritual dance performed by a monk holding a Bara in his hand that protects the ceremony site by clearing the bad energy with the metallic sound of Bara. All eight Bara dances show dynamic and masculine ceremonial dance steps that include rotation and have one common theme of protecting the law of Buddha, which is done in heavy but brisk steps to the beat. Based on my understanding of Buddhist dance and the value of Yeongsanjae, I was able to promote the meaning of Bara and reinvigorated “再生” which is not only performed in Buddhist rituals but also staged for everyone from different religions. The purpose of this study was to recreate the artistry of Bara dance in which the spirit performs the ritual freely altogether that could potentially catch the eye of the public audience. 본 연구는 영산재 속 바라춤을 기반으로 바라의 의미인 씻김과 정화를 토대로 동작의 의미를 부여해 작품 “再生”을 재창작하였다. 유네스코 세계무형문화유산으로 등재된 영산재는 영혼을 천도하는 의식으로 총 13가지의 절차가 행해진다. 영산재의 의식 중에 바라춤은 승려가 손에 바라를 들고 추는 불교의식무로 바라의 쇳소리로 나쁜 기운을 물리쳐 의식이 이루어지는 장소를 수호하고 승려와 관객들까지 정화되는 의미를 가지고 있다. 총 8가지 바라춤의 공통점은 불법(佛法)을 수호하며 가볍지 않은 발 디딤과 무거우면서도 장단에 맞추어 빠른 동작으로 발을 움직이고 회전을 하며 역동적이고 남성적인 의식무이다. 본 연구자는 이번 “再生”의 재창작을 통하여 영산재의 가치를 깨달으며 작법무인 바라춤에 대해 이해하여 이를 바탕으로 불교의식에서만 행해질 것이 아니라 종교에 의해 제한되지 않고 모든 사람들에게 바라춤의 의미를 널리 알릴 수 있게 무대화시켜 영혼이 함께 의식을 행하는 바라춤을 만들어냈고 바라의 예술성까지 돋보일 수 있도록 재창작하여 본 연구의 목적을 달성하였다.

생전예수재의 죽음준비문화적 성격에 관한 연구

이계원 능인대학원대학교 2022 국내석사

Everyone has no choice but to die someday. The problem of death from the past to the present can be said to be a problem of constant thought and philosophy for us. Thus, in today's society, various institutions, education, or culture related to death are developing to prepare and positively accept death in advance as well as escape from fear and fear of death. On the other hand, the beginning and purpose of Buddhism is also to help everyone escape from the pain of life and death and reach Nirvana, so it can be said that the basic doctrine of Buddhism is also related to human death. In addition to overcoming these problems of death, various Buddhist rituals are developing as a means to practice the fundamental ideas of Buddhism, and representative death rituals and spiritual rituals include Cheondojae (49jae), Suryukjae, Yeongsanjae, and Saengjeon Jesusjae. In relation to the well-dying issue, which is emerging as a topic as important as the well-being issue today, this paper studied whether Jesus, one of Buddhist rituals, can be used as a system or culture for preparing for death of modern people. In particular, unlike Buddhist rituals such as Cheondojae, Suryukjae, or Yeongsanjae, Jesusjae during his lifetime is not practiced by descendants after a person dies, but by himself before death, which is a "pre-rite" and a "death-preparation culture." Since most of the traditional Buddhist rituals and pre-Jesusjae are consistently passed through the proposition of death, this can be said to be linked to today's death problem. Especially, 『Praise for the Seven Scenic Views of Jesus』and Based on 『Seokmunbeom』, the ritual procedure of Jesus during his lifetime can also be explained in one aspect of the cultural nature of preparation for death today. Thus, the ritual procedure of Jesus during his lifetime was explained from the perspective of separation of death, understanding death, and integration overcoming death based on the theory of "pass ritual," which means a ritual that a person must pass from birth to death. As a result of this study, it can be said that Jesus in his lifetime as a cultural character of preparation for death can be a device for good death, secondly a device for death experience for self-performance, and thirdly, I think it can be a device of death culture for the living. 모든 사람은 언젠가 죽음을 맞이할 수밖에 없다. 과거부터 현재까지 죽음의 문제는 우리들에게 끊임없는 사유의 문제이자 철학의 문제라고 할 수 있다. 그리하여, 오늘날 우리 사회에는 죽음에 대한 공포와 두려움으로부터 벗어 남은 물론, 죽음을 사전에 준비하고, 긍정적으로 받아들이기 위해 죽음과 관련된 각종 제도나 교육 또는 문화가 발달하고 있다. 한편, 불교의 출발이자 목적 역시 모든 사람이 생사의 고통에서 벗어나 열반에 이르고자 하는 데 있는 것이므로, 불교의 기본교리 또한, 인간의 죽음과 관련된 것이라고 할 수 있다. 그리고 이러한 죽음의 문제를 극복함은 물론, 불교의 근본 사상을 실천하기 위한 하나의 방편으로써 각종 불교의례가 발달하고 있는데, 대표적인 죽음의례이자 영혼천도의례로써는 천도재(49재)·수륙재·영산재·생전예수재 등이 있다. 본 논문은 오늘날 웰-빙 문제 못지않게 중요한 화두로 새롭게 떠오르고 있는 웰-다잉 문제와 관련하여 불교의례의 하나인 생전예수재를 현대인들의 죽음준비에 관한 하나의 제도 내지 문화로써 활용할 수 있는지에 관하여 연구하였다. 특히, 생전예수재는 천도재나 수륙재 또는, 영산재 등의 불교의례와는 달리, 사람이 죽은 후 자손들에 의하여 행해지는 것이 아니라, 죽기 전에 자신이 스스로 행한다는 점에서 즉, ‘사전의례’이자 ‘자행의례’에 해당한다는 사실에 주목하여, 죽음을 사전에 준비하는 죽음준비문화로써의 성격을 갖는 것이라고 할 수 있기 때문이다. 전통적인 불교의례와 생전예수재는 대부분 죽음이라는 명제가 수미일관하여 관통하고 있으므로 이는 곧, 오늘날의 죽음문제와도 연결되는 것이라고 할 수 있다. 특히, 『예수시왕생칠경의찬요』와 『석문의범』을 기반으로 하는 생전예수재의 의식절차는 오늘날 죽음준비문화적 성격의 한 측면에서도 설명될 수 있는 것으로 보았다. 그리하여 생전예수재의 의식절차를 사람이 태어나서 죽을 때까지 반드시 통과해야 할 의식을 의미하는 ‘통과의례’ 이론을 기반으로, 죽음을 맞이하는 분리의식, 죽음을 이해하는 전이의식, 죽음을 극복하는 통합의식 등의 관점에서 설명하였다. 이러한 연구 결과, 죽음준비문화적 성격으로써의 생전예수재는 첫째, 좋은 죽음을 위한 죽음교육의 장치가 될 수 있고, 둘째, 자기 수행을 위한 죽음체험의 장치가 될 수 있으며 셋째, 산 사람들을 위한 죽음문화의 장치가 수 있다고 생각한다.