일응 스님 범패 연구 (A Study of a Monk's Buddhist Ritual Chant (Pŏmp'ae) by Venerable Ilŭng)

서지정보

· 발행기관 : 한국음악사학회
· 수록지 정보 : 한국음악사학보 / 50호 / 147 ~ 176페이지
· 저자명 : 윤소희

초록

일응스님은 전주에서 태어나 11살 무렵 출가하여 일찌감치 완제범패를 섭렵하였다. 이후 서울 봉원사의 이월하스님으로부터 서교제 범패를, 개운사의 전우운스님으로부터 동교제 범패를 익혔으며, 다시금 고향인 전주로 내려와 완제범패를 다졌다. 사찰정화분규로 종단의 혼란이 있던 시기에는 일시적으로 환속하여 국악인으로써 활동하였다. 이때 시조창 분야에 두각을 내어 명인의 반열에 들 정도였으며, 더불어 가야금 산조와 북가락 연마로 민간 전통 음악 어법을 다양하게 섭렵하였다.
일응스님의 이러한 삶의 과정은 그의 범패에 그대로 영향을 미쳤다. 경제범패의 영향으로 지방에서만 범패를 익힌 스님들과 달리 정확한 음정구사와 세련된 성음을 구사하게 되었고, 경제 범패만 익힌 승려들과 달리 완제 범패의 영향으로 굵게 떠는 저음과 고음에서 육자베기토리와 같이 꺽는 성격이 드러나기도 하였다. 그런가하면 ‘화청’이나 ‘봉청’과 같은 악곡의 고음 부분에서는 시조창에서와 같이 가성으로 부드럽게 들어 올리는 부분이 나타나기도 하였다.
그런가하면 전주 출생으로 시조창과 가야금, 북가락 등 기예가 뛰어났던 면모는 ‘화청’을 통해 잘 드러나고 있었다. 고음 부분에서 애조를 띈 시김새를 구사하는가 하면 반음에 가까운 음정으로 꺽는 발성이 그것이다. 후반부 선율에서 다채로운 변화장단 선율이 돋보였는데 이는 가야금산조와 북가락을 익히며 전통음악의 다채로운 기교가 범패가락으로 용해된 것이었다. 한편 지역을 불문하고 범패는 메나리토리를 근간으로 하는데 일응스님의 범패에는 메나리토리 선율이 거의 나타나고 있지 않았다. 이는 남도 태생인 일응스님 범음성의 개성으로 인하여 메나리토리적인 성격이 약화된 것으로 파악되었다.

영어초록

This paper is a study on the process of characterizing and hand down of a monk's Buddhist ritual chants (pŏmp'ae 梵唄) through Venerable Ilŭng's life on the condition of Korean Buddhist society and tradition. For this study, I met his students and colleagues whole area of Korea and recorded the evidences. After that I recorded his songs on western music notation and analysed it.
Ven. Ilŭng 一應 was born on 1920 in Chŏnju 全州 of Chŏlla province 全羅道, died on 2003 in Seoul. That days of Korea history was the convulsions period under the Japanese colonial rule, before and after Korean War, so Buddhist monks should be experienced their fragmentation. Ven. Ilŭng became a monk 1931 (his age was 11) learned and exercised the songs and dancing in the Buddhist ritual, it was wanje 完制 (Chŏnju style) of the Chŏlla province. After 5 years he went to Seoul to learn 일응 스님 범패 연구 175 kyŏngje 京制 (Kyŏnggi 京畿 style) chants for his advanced song. At one time, He return to secular society to escape from the fragmentation of Buddhist monk's society and school. At that time he acted as a singer of sijo 時調 (a kind of traditional Korean lyric song) and also learned kayagŭm sanjo 伽倻琴散調 (solo instrumental music for 12-stringed zither) and the rhythm of drum.
After several years, he came back to be a monk and harder to exercise Buddhist ritual song and dancing for ceremony service then before. The result he could get the accredit as his songs and dancing and became a initiator of the Korea important intangible cultural property No. 50 in Seoul. After that he went to his home town Chŏlla province and instruct his students Buddhist ritual and song and dancing. By his effort his students could became initiators of Chŏlla province intangible cultural property.
The analysis of his various chants is that some time there were falsetto voice on high pitched melody, it is came from traditional Korean lyric song (sijo). Some time there were a vocalization like folk song of Chŏlla province mostly on low pitched melody, it is due to his home town Chŏlla's folk song style. But his song is more purified and collected the pitch and interval of his melody than his students and colleagues in Chŏlla province, it is because of that he learned and acted in Seoul.
Especially when he song hwach'ŏng 和請 (Buddhist song in Korean language) song very delicate emotionally and express rhythmically, it is influenced by kayagŭm sanjo and Korean traditional rhythm pattern of drum.
Given his life, acting of Buddhist ritual and the feature of his Buddhist song pŏmp'ae, the character is in the fusion and harmonious condition with Seoul and region, the religious spirit and lay person music. The noteworthy on his songs is the temperance of emotional expression and dignified vocal although receptive of the common musical skill. It is the most virtue on his songs.

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