옥스퍼드 운동(Oxford Movement)의 정신이 영국 교회음악에 미친 영향 ―그레고리오 성가 부활을 중심으로― (The Influence of the Spirit of the Oxford Movement on the English Church Music)

서지정보

· 발행기관 : 영국사학회
· 수록지 정보 : 영국연구 / 19호 / 61 ~ 87페이지
· 저자명 : 오지희

초록

19세기 초 영국 교회음악에서는 중세 가톨릭 평성가인 그레고리오 성가(Gregorian chant)가 발생하였다. 프로테스탄티즘 위에 세워진 국교회에서 가톨릭 성가 부활은 특별한 역사적 의미를 갖는다. 그 중에서도 세속적인 요소를 없애고 거룩함을 추구하고자 한 옥스퍼드 운동은 신학적이고 종교적 운동이었지만 음악적으로는 그레고리오 성가가 부활하는 데 근원적인 역할을 하였다. 운동의 정신을 실천한 트락태리언들은 새로운 가치와 인식의 변화로 합창 예식과 영국식 성가를 도입하였으며, 국교회 음악에 중세 가톨릭 평성가가 찬송가로 불릴 수 있는 토대를 마련하였다. 성가 부활의 역사적 의미는 16세기 운율시편송과 18세기 복음주의자들의 찬송가에 가톨릭 성가가 삽입되면서 영국 교회음악이 프로테스탄티즘과 가톨릭이 융합된 모습을 갖추게 되었다는 데 있다.

영어초록

This paper studies the spirit of the Oxford movement and its influence on the church music in the 19th-century England. During that period, the church of England saw the revival of the Gregorian chant, the liturgical music of the Roman Catholic church, which had disappeared after the Reformation. Tractarianism, another appellation for the Oxford movement, pursued the medieval liturgy and Catholicism. Tractarians, seeking for the tractarianism, tried to change the desperate state of the English church. And those tractarians, such as Druitt, Oakeley, Jebb, built foundations for the revival of the English plainchant. They sang the chant during choral services and glamourized the church, focusing on sanctifying worship. To the tractarians, the manners of performance for chant in which a soloist or the choir alternated with the congregation were the most appropriate form for the liturgy. As a result, the idea and behaviour of the tractarians gave an alarming shock to the church of England.
The Cambridge Camden Society played the crucial role in expressing the inner spirit of the movement with the visible works. It strongly advocated the use of the Gregorian chants by means of upholding the sublimity in the church. It was the Cambridge Camden Society that accomplished a substantial growth of academic interest, leading to the publication of books. A lot of important musical products appeared in public including The Accompanying harmonies to the Psalter Noted (1851) and The Accompanying harmonies to the Hymnal Noted (1852) by Thomas Helmore. The spirit of the Oxford movement, therefore, offered theological and aesthetical grounds for the revival of the catholic plainchant in the 19th-century England. As Routely said, it could be called English Counter-Reformation in the light of pursuing the holiness and sanctification in the service. No doubt that it was really unique historical event different from the catholic liturgical movement in the continent as well as in England. Hymns based on the evangelicalism in the 18th-century, following after metrical psalms in the 16th-century, were blended with the English Gregorian chants. The development of the newly created English hymn books were accelerated. Finally the church of England produced their own English hymns, such as Hymns ancient and modern (1861), which were the musical synthesis of the Protestantism and the Catholicism.

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