한국찬송가의 과거, 현재 그리고 미래 ―「통일찬송가」와 「새 찬송가」(21세기 찬송가)의 비교 분석을 중심으로

강만희 한국기독교학회 2008 한국기독교신학논총 Vol.55 No.-

The newly published Korean Hymnal(2006) is considered a much improved edition of the hymnal published in 1983. The new edition showed great improvement and also added many hymns by Korean authors and composers. The portion of Korean contributors is the largest in the history of Korean hymnals. This comparative study examined many changes made in the 2006 editions: 1) deletion and addition of hymns; 2) the content layout; 3) author, composer, translator, and dates; 4) metrics; 5) musical contents; 6) hymn texts; 7) classification and indexes; and 8) litanies. In addition to the improvements made in the 2006 edition, remaining errors, which should have been corrected, are pointed out with conclusive examples. When improving future editions of the Korean hymnal, three important things should be considered. First, the original hymn words and music of a hymn should be consulted throughout the editing and publishing processes. Secondly, the copyright information should be clarified for each hymn, just as words, translation, information, should be also included in the hymnal. Lastly, the Korean Hymnal Society, music, harmonization, and so on are other elements to be considered. It is further necessary to develop a clear guidelines and rules for editing old and new hymns, thus promoting Korean hymns to the world of Christianity. The Korean Hymnal Society also must provide broad and up-to-date resources for researchers and end users in preparation for the future edition of hymns. The newly published Korean Hymnal(2006) is considered a much improved edition of the hymnal published in 1983. The new edition showed great improvement and also added many hymns by Korean authors and composers. The portion of Korean contributors is the largest in the history of Korean hymnals. This comparative study examined many changes made in the 2006 editions: 1) deletion and addition of hymns; 2) the content layout; 3) author, composer, translator, and dates; 4) metrics; 5) musical contents; 6) hymn texts; 7) classification and indexes; and 8) litanies. In addition to the improvements made in the 2006 edition, remaining errors, which should have been corrected, are pointed out with conclusive examples. When improving future editions of the Korean hymnal, three important things should be considered. First, the original hymn words and music of a hymn should be consulted throughout the editing and publishing processes. Secondly, the copyright information should be clarified for each hymn, just as words, translation, information, should be also included in the hymnal. Lastly, the Korean Hymnal Society, music, harmonization, and so on are other elements to be considered. It is further necessary to develop a clear guidelines and rules for editing old and new hymns, thus promoting Korean hymns to the world of Christianity. The Korean Hymnal Society also must provide broad and up-to-date resources for researchers and end users in preparation for the future edition of hymns.

새찬송가 성찬찬송의 신학적 고찰

최한성 한국실천신학회 2021 신학과 실천 Vol.- No.74

한국 개신교는 초교파적으로 하나의 찬송가를 사용한다. 초기 한국 개신교 교단들 은 각기 교단 찬송가를 펴냈다. 감리교와 장로교는 연합으로 통합 찬송가를 만들기도 했다. 이후 한국찬송가공회가 출범하고 2006년에 21세기 새찬송가를 펴냈다. 대부분 개신교 회중은 이 찬송가를 사용한다. 교단마다 신학적 이해는 다르지만 동일한 성찬 찬송을 부르는 것은 흥미롭다. 새찬송가의 성찬찬송을 신학적으로 탐구하는 것은 큰 의미가 있다. 이러한 측면에서 이 연구는 21세기 새찬송가에 실린 7곡의 성찬찬송을 신학적으로 고찰하고 목회적으로 제안하는데 목적이 있다. 그동안 성찬신학에 대한 신학적 논의는 많았다. 하지만 새찬송가에 채택된 7곡의 성찬찬송에 대한 신학적 고찰은 부재했다. 본 연구는 7곡의 성찬찬송 가사에 집중하 며 신학적으로 파악할 것이다. 어떤 측면에서 신학적 이해가 강조되고 축소되었는지 검토할 것이다. 새찬송가 성찬찬송의 신학적 특징은 “그리스도의 희생,” “인간의 죄악 과 죄사함,” “그리스도를 기념,” “하나님께 감사,” “성도의 교제,” “천국 잔치” 등의 이 미지다. 새찬송가 성찬찬송에 대한 신학적 이해를 넓히기 위해 BEM 문서와 함께 제 임스 화이트가 제시한 7가지 성찬 이미지를 참고한다. 그의 7가지 이해는 “하나님께 감사,” “그리스도를 기념,” “성령의 역사,” “그리스도의 임재,” “그리스도의 희생,” “최 종성취로서 종말사상,” “성도의 교제”이다. 새찬송가 성찬찬송과 화이트의 이해가 많은 부분 중첩된다. 그중에서 새찬송가는 그리스도의 희생과 죄사함 그리고 천국 잔치 이미지가 강조된다. 그로 인해 한국 개신교 성만찬의 분위기는 대체적으로 엄숙하다. 예수 그리스도의 죽으심에 초점이 맞춰졌기 때문이다. 이는 예수 그리스도 구원의 과 정에서 그의 부활과 재림을 강조하지 못하게 할 수 있다. 또한 새찬송가는 화이트와 BEM 문서가 언급하는 성령의 역사나 성령의 초대를 포함하지 않는다. 화이트는 성령 으로 성찬에 능력이 나타난다고 강조한다. 그러한 측면에서 새찬송가가 성령의 역사 를 포함하지 않은 것은 아쉬운 부분이다. 그러므로 이 연구는 그리스도의 부활과 재 림을 기념하는 것과 성령의 역할을 포함한 성찬찬송을 목회적으로 제안할 것이다. 풍 성한 성찬신학을 담아낸 성찬찬송이 만들어져 신앙 공동체에 큰 유익이 되길 바란다. Korean Protestantism is interdenominational in the use of hymnal. This is because Korean Protestantism uses a unified hymnal, which is 21st New Hymnal. Early Korean Protestantism published their own denominational hymnal. Early Korean Methodist and Presbyterian Church occasionally made a hymnal by cooperation. Korean Protestantism organized Korean Hymnal Society. The Society published current 21st New Hymnal. Most Protestant congregations use this hymnal. Each denomination has different theological perspectives on Eucharist. Yet, they use same hymnal. This is an interesting aspect. Thus, it is a meaningful study for eucharistic hymns of the 21st New Hymnal to research its theological reflection. Hence, this project will investigate the seven eucharistic hymns of the 21st New Hymnal, which is used in Korean Protestantism. This study lastly give pastoral suggestions to Korean Protestant congregations who use this New Hymnal. In the meantime, there were many theological discussions on eucharistic theology. However, theological reflection has been absent from seven eucharistic hymns adapted in the New Hymnal. This project will focus on the lyrics of the seven eucharist hymns of the New Hymnal and explore their theological perspectives. This study will figure out theological emphases and underestimations on the eucharistic hymns. Theological characteristics on the eucharistic hymns of the New Hymnal appear as “the sacrifice of Christ,” “human sin and forgiveness,” “in rememberance of Christ,” “thanks to God,” “the communion of congregation,” “the heavenly feast.” To expand theological understandings, I will discuss the seven eucharistic images suggested by James F. White along with the BEM document. White’s seven understandings are “thanks to God,” “in rememberance of Christ,” “the work of Holy Spirit,” “the presence of Christ,” “the sacrifice of Christ,” “the eschaton as the final fulfillment,” “the communion of congregation.” The eucharistic hymns of the New Hymnal overlap several understandings of White. Among them, the lyrics of the New Hymnal emphasize the images of “the sacrifice of Christ” and “forgiveness and the heavenly feast.” The images of sacrifice and the sin of forgiveness play an important role in remembering Christ‘s suffering and death as a solemn atmosphere. These images cannot proceed into the emphasis on Christ’s resurrection and the Second coming of Christ in the entire process of Christ’s salvation. Moreover, the New Hymnal does not include the work of Holy Spirit White and the BEM document mention. White emphasizes the power by the Holy Spirit in Eucharist. In this sense, it is surprised that the New Hymnal does not include the work of Holy Spirit. Therefore, for pastoral aspects, this project suggests eucharistic hymns, which contain the meanings of the resurrection and the Second Coming of Christ and the role of Holy Spirit. I hope that eucharist hymns based on abundant eucharistic theology are created and play a role in bringing advantage for faith congregations in Korean Protestantism.

언더우드의 『찬양가』와 한국 근대음악

박종현 평택대학교 피어선기념성경연구원 2020 피어선 신학 논단 Vol.9 No.1

This article is a study on the hymnal Chanyang’ga (1894) by Rev. H. G. Underwood. This is the study of the historical importance of Chanyang’ga and the role of this book in the inculturation of Christian hymnals in the history of the Korean church. The translation of the hymnal has two steps. Firstly, English lyrics are translated into Korean. Secondly, the new melody composed by a Korean is integrated. Then, the hymnal becomes inculturated and the church confesses their faith with the new Korean hymnal. The Korean translation of the lyrics of the English hymnal emerged in the first hymnal Chanmiga (1892) and Chanyang’ga (1894). The inculturation of lyrics of the hymnals was accomplished in the initial stage of Christian missions in Korea. On the contrary, the western melodies of the hymnals was used for several decades. The Koreans composed their own melodies since the 1940’s. The Korean Christian’s hymnal was completely inculturated in the 1940’s. Underwood’s Chanyang’ga is the combination of British lyrics and American melodies of hymnals of the 18-19th century. Chanyang’ga adapted the form and the structure of the hymn book The New Laudes Domini of the American Presbyterian church in the south. Chanyang’ga reflected the ritual of American Presbyterian tradition and the evangelical theology of the 19th century American Presbyterian church. Chanyang’ga took the role of being a bridge for the development of Korean Christian music, Korean modern music and the musical expression of religion, society and culture. The translation of the name of God and the publication of the Chanyang’ga caused a conflict between Rev. Underwood and the Presbyterian mission and the Methodist mission in Korea. These two missions did not permit Chanyang’ga to be an official hymnal of the Korean church. In spite of the prohibition, Chanyang’ga became a standard model of the Korean hymnal after the publication of the official hymnal in 1908. Chanyang’ga was the milestone of the development of the Korean church music, the adaption and the improvement of western music in Korea, and the musical inculturation of the Protestant confession of faith. 이 논문은 언더우드에 의하여 1894년 간행된 『찬양가』에 대한 연구이다. 『찬양가』 의 역사적 위치와 찬송가 토착화 과정에서 찬양가가 교회음악의 발전과 근대 한국 음악에 미친 역할에 관한 연구이다. 찬송가의 토착화는 먼저 한글로찬송가 가사 번역되고 그 이후에 한국인 창작 곡조로 이어져 독자적 신앙고백에이르게 된다. 찬송가 가사는 최초의 한글 찬송가 찬미가와 최초의 한글 악보 찬송가인 『찬양가』에 한국인 찬송가 가사가 수록되어 초기부터 가사의 토착화가 이루어졌다. 이에 비교하여 찬송가 곡조는 서양 찬송가의 원곡을 초기부터 수십년간을 사용하다가 한국인들의 작곡이 출현하는 1940년대에 완전한 토착화에 이르게 된다. 『찬양가』는 영국의 찬송가 가사와 미국의 찬송가 곡조를 조합하는 형식으로구성되었다. 『찬양가』는 미국 장로교회의 예배 예식을 모델로 구성되었고 19세기 미국 복음주의의 신학적 종교적 유산을 반영하였다. 『찬양가』는 한국어 가사의 발전, 한국 음악의 발전 한국의 역사와 사회적 사건의 음악적 표현을 창출하는기폭제로서 역사적 가교의 역할을 하게 된다. 언더우드의 『찬양가』는 신 호칭의 문제와 언더우드 단독 발간이 장로교와감리교 선교부와 갈등을 촉발하여 공인 찬송가로 사용되지 못하였다. 그러나 『찬양가』는 1908년 이후에 간행되는 한국어 찬송가의 모든 형태의 표준적 위치를점하게 된다. 『찬양가』는 한국교회의 예배음악발전과 한국의 근대 서양음악의수용 및 확산 그리고 개신교 신앙고백의 음악적 토착화에 기초를 놓았다.

A Study of the German Hymns in Representative Korean Hymnals

하재송(Ha, Jae-Song) 개혁신학회 2012 개혁논총 Vol.21 No.-

한국에서 기독교 찬송가가 처음 출간된 것은 존스와 로쓰와일러가『찬미가』라는 소책자를 출판한 1892년이었다. 그 때로부터 한국 찬송가에서 가장 커다란 부분을 차지한 것은 영국과 미국 찬송들이었다. 그러나, 한국 찬송가에 중요한 기여를 한 또 다른 찬송들이 있는데, 그것은 독일 찬송이다. 1949년 출판된『합동찬송가』는 한국인에 의해 편집된 첫 통일 찬송가인데, 여기에는“내주는 강한 성이요,”“저 밭에 농부 나가,”“내 주여 뜻대로,”“만유의 주재”등을 포함하여 적어도 8편의 독일 찬송들이 실려 있다. 그 후 1962년 출간된『새찬송가』에는『합동찬송가』에 수록된 8편에 더하여 20편의 새로운 독일 찬송들이 수록되었다. 그 중 10편은 일본 찬송가들인『성가』(1958)와『찬미가』(1954)에서 취해졌다. 그리고 1967년의『개편찬송가』는 가장 많은 독일 찬송들을 수록하고 있는 한국찬송가인데,『 합동찬송가』에 실린 8편을 포함하여 총 33편의 독일 찬송들이 수록되었다. 그 중 11편은『새찬송가』에 처음 수록된 것들로서 이 찬송가에도 수록되었고, 14편은 새롭게 수록된 찬송들이다. 1983년 출간된『통일찬송가』에는 『합동찬송가』에 실린 찬송들 중 7편을 포함하여 19편의 독일 찬송들이 수록되어 있다. 그 중 5편은『새찬송가』에 처음 소개되어『개편찬송가』에도 실린 것들이고, 6편은『개편찬송가』에 처음 소개되어 이 찬송가에 다시 실린 찬송들이다. 끝으로 21세기『새찬송가』(2006)에는『합동찬송가』에 수록된 8편 중 6편을 포함하여 17편의 독일 찬송들이 수록되어 있다. 그 중 4편은『개편찬송가』에 처음 소개되어『통일찬송가』에도 실린 것들이며, 3편은 새로운 독일 찬송들이다. 이상 5권의 대표적인 한국찬송가들에 수록된 독일 찬송은 총 45편으로서 그 중 40편은 총 28명의 찬송작가들이 쓴 찬송들이고, 나머지 5편은 작자미상이거나 노래집에서 선택된 것들이다. 찬송작가별로 보면, 슈몰크와 게르하르트의 찬송이 각각 5편, 루터의 찬송이 3편, 테르스티겐과 쉐플러의 찬송이 각각 2편씩 수록되었다. 역사적으로 볼 때, 한국찬송가들에 실린 대부분의 독일 찬송들은 종교개혁시대로부터 18세기까지의 기간에 속한다. 특히 17세기는 전체 45편 중 과반에 가까운 약20편이 그 시기에 속하기 때문에 매우 중요한 시기이며, 다음으로 18세기 독일 찬송은 16편 가량 실려 있다. 이들 17, 18세기 독일 찬송들 중에는 30년 전쟁과 경건주의의 영향을 받은 찬송들이 많다. 독일 찬송은 한국찬송가에서 영미 찬송에 비해 상대적으로 매우 작은 부분을 차지하고 있지만, 그 동안 한국찬송가의 발전에 크게 기여해 왔으며, 한국기독교인들의 신앙과 삶에 있어서도 상당한 영향을 미쳐 왔다. 따라서 한국교회는 교회음악적으로 그리고 신앙적으로 독일 찬송에 적지 않은 빚을 지고 있음을 늘 기억해야 할 것이다. Since a Christian hymnal first appeared in Korea in 1892, English and American hymns have been a major part of Korean hymnals. However, we acknowledge another important contribution to Korean hymnals: German hymns. Hapdong Chansongga(1949), the first unified hymnal edited by native Koreans, includes at least eight German hymns. Sae Chansongga(1962) contains 20 new German hymns in addition to the eight hymns included in Hapdong Chansongga. Gaepyeon Chansongga(1967) includes the most German hymns among Korean hymnals. It contains at least 33 German hymns, including the eight hymns in Hapdong Chansongga. Tongil Chansongga(1983) contains 19 German hymns. Including seven hymns from Hapdong Chansongga, it adds German hymns from Sae Chansongga or Gaepyeon Chansongga. Sae Chansongga(2006) contains 17 German hymns, including six hymns from Hapdong Chansongga and three new German hymns. A total of 45 German hymns have appeared in the five presented Korean hymnals. 40 hymns are the products of 28 hymn writers and the other five are either anonymous or are from song collections. Most German hymns found in the Korean hymnals come from a time period spanning the Reformation period to the eighteenth century. Around 36 German hymns out of 45 were written in the seventeenth and eighteenth centuries. Many hymns of these centuries were influenced by the Thirty Years’ War and the Pietism movement. Although German hymns have taken a relatively small part in Korean hymnals, they have had an important influence on Korean Christians. Korean churches are significantly indebted to the German hymnody for the formation of a balanced and devoted Christian faith and the development of the Korean hymnal.

『21세기 찬송가』(2006)에 대한 연구

나진규 ( Jin Gyu Na ) 민족음악학회 2012 음악과 민족 Vol.44 No.-

The 21st Century Hymnal as an amendment and addition to the United Hymnal(1983) was published by Korean Hymnal Society in 2006. Now is widely used in most Korean protestant churches. The addition was done in two sides. First, the hymns of korean writers and of the various nations were added, as described in the preface of the hymn book. Second, supplemented were worship hymns, psalm hymns, hymns for the church events, and hymns for young generations. While originally, it was planned to be published in 2000, the publication lasted 6 more years. It took longer to persuade the churches of the need of the new hymnal, and the contract conflict between the Korean Hymnal Society and the press companies made it even longer. The conflict has not be resolved even until now, 7 years after the publication. No one knows whether the 21st Century Hymnal will have the same influence as the United Hymnal had, which had been used by all the Korean protestant churches. In this article, first, I will try to describe how the edition was done, including the situation and progress. Then, I will show how it is different from the United Hymnal. Also, I will explore, how well the purposes of edition were accomplished. I hope this paper would be a contribution to the study of korean Hymnology.

2000년 이후 출판된 미국 회중찬송가의 경향과 특징

강만희 한국실천신학회 2013 신학과 실천 Vol.0 No.35

2000년 이후 미국에서 20개 이상의 찬송가가 출판되었다. 이 찬송가들은 한국 교회의 예배와 새로운 찬송가 출판에 참고할 만한 새로운 경향과 특징을 포함하고 있다. 한국 교회와 찬송가 출판에 관련한 전문가들이 살펴보아야 할 내용은 다음과 같다. 첫째, 한국교회는 찬송가 편집과 출판을 위해 더 오랜 시간을 할애해야 한다. 예배학자와 교회음악전문가들은 지속적으로 편집, 평가와 사용에 대해 더 깊이 있는 연구를 해야 한다. 둘째, 찬송가 편집을 위한 분명한 신학적 그리고 음악적 편집기준이 마련되어야 할 것이다. 셋째, 예배를 위한 전자 판을 포함한 다양한 포맷(반주 판, 점자 판, 수화 판 등)의 찬송가가 출판되어야 하겠다. 모든 포맷의 찬송은 자세한 판권정보, 조성 색인 그리고 메들리 색인을 포함하여야겠다. 넷째, 현대찬양음악, 글로벌 찬송, 여성이 작곡 혹은 작시한 찬송과 함께 토착화된 한국찬송의 수록을 고려해야한다. 마지막으로 전통찬송은 침례교 찬송가(2008)에서 보여준 것과 같이 현대적인 화성과 진행의 사용, 후렴 부 혹은 마지막 절 편곡을 포함시켜야 할 것이다. 또한 메들리 세팅의 포함은 예배인도자와 기획자에게 큰 도움을 줄 것이다. 최근 출판된 미국 찬송가에 나타난 경향과 특징은 예배 기획자와 여러 계층의 사용자를 고려하여 적용하여야 한다. 이러한 목적을 달성하기 위해서 찬송가의 사용에 관한 끊임없는 노력과 연구가 필요하다. 한국 신학자, 교회음악학자, 예배인도자 및 관련 전문가들은 예배를 통해 주님께 영광을 드리도록 힘을 합하여 노력하여야겠다. Since the year 2000, more than twenty hymnals have been published in the United States. These hymnals have demonstrated new trends and characteristics, which can be applied to Korean worship services and considerations for a future Korean Hymnal. First and foremost, Korean churches should take into account that editing and publishing a hymnal is a long and ambitious process which involves collecting, translating, soliciting submissions, and examining each hymn’s effectiveness as well as its reception. Theologians and church music scholars should procure year-round studies, evaluations, and assessments. Secondly, there should be clear theological and musical editorial guidelines to editing hymnals. All editors should follow the same detailed guidelines that will evaluate newly imported worship songs from the United States, especially the texts.Thirdly, hymnals should be published in many different formats to support worship services. Several editions (including piano and organ accompaniment, braille, and sign language editions) should be strongly considered, as well as electronic editions.All other formats of hymnals should include detailed copyright information, key indexes, and medley indexes. Fourthly, contemporary worship songs, global hymns, and hymns written by women should be considered for inclusion for the future hymnal. Lastly, the traditional hymns must be rearranged with more modern harmonies and progressions, and add an arranged refrain and/or last verse as shown in the Baptist Hymnal (2008). Including medley settings for contemporary worship will set a good guideline for worship leaders and planners. The trends and characteristics of newly published hymnals in the United States must be considered for all different types of end users as well as worship planners.In order to archive this goal, there should be ceaseless efforts and research on the subject of hymnal usages.Korean theologians, church music scholars, church musicians, worship leaders, and other related specialists should work together for the sole purpose of glorifying God through worship.

일반논문 : 한국 개신교 데스칸트 찬송가에 관한 연구

차명석 ( Myoung Seok Cha ) 백석대학교 기독교인문학연구소(구 기독교철학연구소) 2009 기독교철학연구 Vol.11 No.-

The Korean church, which has experienced great change and growth unlike any other country in the history of Christianity, has entered the Twenty-first century alongside the rapidly changing and diverse modern cultures. Living in a time of technological advancement, pluralism, and postmodernism, modern people can not ignore popular culture. They experience conflicts, big and small, as they live within the ebb and flow of diverse cultures. Our modern culture has deeply influenced the growth and development of Korean worship and hymns. In the Twenty- first century Korean church, CCM praise and worship has secured its place as the dominating and most popular style of praise. After a long period of labor and suffering, the Korean Hymnal Assembly was finally able to publish, in 2007, the Twenty-first Century Hymnal, which has become the most popular standardized hymnal book. However, the Korean church will have to adapt the Twenty-first Century Hymnal, which is used in traditional worship settings, to new and diverse worship cultures and styles of praise in ways that will meet the demands of contemporary culture. This dissertation suggests as a plan the incorporation of Descant into congregational hymns used in traditional worship in order to produce a new kind of church music that fits the modern taste. The following is the order in which the research for this paper is organized. First, I have done literary research for the etymology and history of Descant. Second, there is an analysis of Descant hymns and creation of new ones. The following are Descant hymns that are already published: Woon-Young Na`s 100 Descant Hymns(1976), Sook-Ja Jo` Descant Hymnal(1991), Sun-Yong Baek`s Descant Hymnal(1999), Gwang-Woo Chun and Tae-Seung Jang`s Descant Hymnal for Spiritual Worship(2002), and Hye-Chun Song`s Descant Hymnal(2004). However, there are very few churches that actually use these Descant hymns for their worship services. Therefore, this paper has analyzed the reason why churches have neglected the use of Descant hymns and has presented a form of Descant hymns that can be widely used among churches. If churches accept the use of Descant hymns in their traditional worship services, I believe that it will open up a new way of doing church music. I hope that many simple Descant hymns will be produced and that there will be a flourishing of Descant Hymnals. The Korean church and church music leaders will have to show continual effort and devotion to the research and development of worship music and congregational hymns.

초기 한국교회 찬송가에 나타난 성찬이해

김태규 한국복음주의실천신학회 2014 복음과 실천신학 Vol.33 No.-

성찬은 생명을 주시는 하나님의 은혜의 수단이며, 반복적 특성이 있는 예식이다. 본 논문에서는 한국교회 초기 찬송가사에 나타난 성찬이해를 살펴보았다. 『찬양가』는 한국교회 최초의 악보판 개인 찬송가집으로, 최초로 한국인의 창작시 성찬가사라는 점에서 의의를 지닌다. 『찬셩시』는 장로교 최초 공식찬송가로 성찬을 그리스도의 몸과 피를 상징하며 동시에 성찬의 효과를 실제적인 것으로 이해하고 있다. 『찬숑가』는 최초의 장로교· 감리교 연합 찬송가이며 성찬가사가 성찬 참여자 개인(“나”)에 맞추어져 성찬의 공동체적인 면이 덜 강조되고 있다. 『신증복음가』는 성결교 찬송가로서, 일본 성결교회 목사의 찬송시를 번역한 것이며, 성찬의 의미를 과거, 현재, 미래적 차원에서 골고루 강조하고 있다. 『신뎡찬송가』는 감리교 전용 찬송가로서 여기서는 성찬의 잔치적 성격을 잘 드러내고 있다. 한국교회 찬송가에는 한국인의 성찬 창작가사가 초기 여러 찬송가를 비롯하여 『통일찬송가』에 이르기까지 『찬양가』의 성찬가사 외에 거의 반영되어 있지 않다. 한국교회는 선교 120년을 지나고 있는 이 시점에서 찬송가에 세계 여러 나라의 전통적, 복음적 성찬찬송을 적절하게 반영하고 계승할 뿐 아니라, 더 나아가 한국인이 지은 성찬 찬송가사와 곡을 더 많이 활용하여야 할 것이다. 또한 이 논문에서는 최근 발행된 찬송가에 나타난 성찬찬송를 다루지 못했으므로 이에 대한 연구가 이루어지기를 바란다. A Holy Communion is a means of grace of God and a sacrament that has a repetitive aspect. The purpose of this study is to investigate the understandings of the Lord’s Supper as expressed in the words of early Korean hymnalsChangyangga, the first personal hymnbook with musical notes in the history of Korean church. The significance of this hymn is that it is the first Eucharist hymn wirtten by a Korean. Chansungsi, the first offical hymnal of the Presbyterian Church. The Eucharist represents the body and blood of Christ, and understands the effect of the Eucharist to be real. Chansongga, the first United Hymnal of Presbyterian and Methodist Church. Because the focus is on a person who participates in the Eucharist, the communal aspect of the Holy Communion is less emphasized. SinjeungBokeumga, the hymnal of the Holiness Church. This is a translation of a hymn written by a Japanese Holiness pastor, and emphasizes the past, present, and future aspects of the Holy Communion. SinjeungChansongga, the Methodist Church's hymnal. The festive aspect of the Holy Communion is stressed. Eucharist hymns written by Koreans are rarely found in the Korean Church's hymnal, old or new hymnal Tongil Chansongga, except the one in Changyangga. It is important to have Korean Eucharist hymns that contain our emotions, either in words or in melody. It is fortunate that there are more hymnal written and composed by Koreans than in the past. At this important point of 130 years of Christian mission, the Korean Church is required not only to keep the traditional and evangelical hymnals, but also to include more hymnals by Koreans. The further study regarding Eucharist hymns published in recent years is suggested because it is not done in this study.

분도회가 간행한 성가집

최호영(Choi Ho Young) 한국교회사연구소 2009 敎會史硏究 Vol.0 No.33

Since the introduction of Catholic faith in Korea in 1784, its liturgy and music have evolved in four distinctive phases: "Chun-joo Ga Sa" period; the introduction of Gregorian chant; the early twentieth century; and the late twentieth century. Foreign missionaries played a crucial role in advancing the Korean Catholic mass music of 'the early twentieth century'. "La Societe des Mission etranger de Paris" introduced french chant mostly in Seoul and Daegu, while the Benedictines established german choral music in Tokwon and Yenki. During this period, monasteries were central in publishing the hymnals. Most notably, the tradition of "Chun joo Ga Sa" in the early Korean Catholic Community had almost completely disappeared from the liturgy, while mass music based on the European tradition became the mainstay of the Korean Catholic liturgy. Beginning with the Catholic Hymnal, published in 1948 by Rev. Lee Moon Geun, individual archdioceses gradually replaced monasteries in leading the publication of hymnals in 'the late twentieth century', Archdiocesan hymnals were soon standardized to nation-wide hymnals. The Benedictine Order during this period focused on developing and publishing chants, in the Gregorian tradition, for the Liturgy of the Hour, unique to the Order. This essay will discuss the historical and musical significance of the Benedictine hymnals published in the early twentieth century, as well as the Order-specific liturgical music in the late twentieth century. The essay will also examine musical value and limitations of the Benedictine hymnals in the history of the Korean Catholic Church, especially within the liturgy.

중국불교의 송찬(頌讚)문학

조명화(Myung Hwa Cho) 동국대학교 불교문화연구원 2011 佛敎學報 Vol.0 No.60

본고는 불교를 매개로 한 인도문학이 중국의 문학에 어떤 변화를 가져왔는지를 살피는 작업 가운데 頌讚문학이라는 방면에 대해 살핀 작업이다. 본고에서 필자의 가장 우선하는 목표는 불교의 유포가 중국문학의 영역을 어느 정도 확장하였는가에 대한 것이다. 따라서 頌讚문학작품 낱낱에 대한 분석은 다루지 않았다. 頌讚이란 것은 음악과 뗄 수 없는 관계를 갖고 있기 때문에 梵唄나 轉讀과 같은 중국 불교음악의 출발에 대해서도 동시에 언급하였다. 개괄적으로 보았을 때 중국불교의 송찬문학은 송찬음악에 실어 부르는 가사에서 출발한다고 본다. 즉, 초기에는 번역문학으로서 출발한 것이다. 그러다가 중국화한 頌讚문학이 나타나게 되는데, 주로 집회의 의식에 사용되는 頌讚文이나 禮敬文에서 출발하여, 나중에는 자신의 소원을 불보살께 비는 發願文이나, 자신의 業障을 뉘우치는 懺文 등 개인적 차원의 문학작품들이 주제에 따라 나타나게 된다. 문학의 형식에 의한 구분을 하자면, 중국문학 여타 장르와 마찬가지로, 詩와 같은 운문 뿐 아니라 압운이 된 중국식 산문인 賦나 辭 등도 두루 나타나고 있음을 확인할 수 있다. This paper discusses the various aspects of Hymnal Literature(頌讚文學), examining the influence of the Indian literature based on the Buddhism on the Chinese literature. The extent to which the spread of Buddhism expanded the domain of the Chinese literature is mainly discussed. For that purpose, the particular works of Hymnal Literature are not analyzed. Because Hymnal Literature has a strong relationship with the music, the beginning of the Chinese Buddhist music, such as Fanbai(梵唄) & Buddhist chant(轉讀), is also examined. Generally speaking, Hymnal Literature of Chinese Buddhism emerged as the lyrics of Hymnal. That is to say, it started as a translation of the literary works. Hymnal Literature in China gradually gained the Chinese features, at first as a form of hymnal sentences(頌讚文) or worship sentences(禮敬文) that was used mainly for the ceremonies of rituals, and later as literary works of the individuals, such as prayer sentences(發願文) which was to make a wish to Buddha & Bodhisattva, or confessional sentences(懺文) which was written to repent one`s karma. If we classify Hymnal Literature according to the literary form, we can find Fu(賦) or Ci(辭), a form of the Chinese rhymed prose, as well as the various forms of verse like poetry.