Park Beom-hoon, Director of Jogye Order Buddhist Music Center
Buddhist music made easy for missionary work…Growth of buddhist scriptures → Hyangga → Folk songs → Pansori
If there had not been a policy of suppressing French currency during the Joseon Dynasty… ‘Church music’ would have become like a classic
“It will be easier to understand if you think of Pansori as containing the words of Buddha.”
Park Beom-hoon, director of the Buddhist Music Center of the Jogye Order of Korean Buddhism (distinguished professor at Dongguk University), who met at the Buddhist Music Center in Gangnam-gu, Seoul on the 5th, said this when asked, “What is Buddhist music?” The Buddhist Music Conservatory was established by the Jogye Order in 2015 to educate and promote various Buddhist music and creative hymns and Buddhist songs that have been passed down for over a thousand years through performances. he composed, conducted, and directed the music for the opening ceremony of the 1986 Asian Games, 1988 Seoul Olympics, and the 2002 Korea-Japan World Cup. Since 2015,he has been presenting various Buddhist music to the public as the director of the Buddhist Music Center.
―Pansori that contains the words of Buddha is called Buddhist music?
“Buddhism came to Korea 1,700 years ago.In a time when there was no such thing as music, monks recited Buddhist scriptures with notes, which permeated our lives for over a thousand years and developed into hyangga, folk songs, and pansori. Do you know Korean traditional musician Kim Young-im’s song “Returning Heart”?
―I know it’s a folk song sung saying, ‘I pray for my mother’s flesh, and I receive my father’s bones~’… .
“that’s right. You can hear it a lot in bier songs or folk songs, and the conversion song is originally Buddhist music. For popular evangelism, easy-to-understand content was sung to folk song melodies. When the conversion song is sung at a temple, it becomes Buddhist music, and when Kim Young-im sings it, it becomes a folk song. Of course, there is Beompae, a professional Buddhist music, but moast of it can be considered the same as the traditional Korean music we know, only with Buddhist content. Yeongsanhoesang is also known as traditional Korean instrumental music, but it is originally a Buddhist song. “The
―You said it was unfortunate that Buddhist music did not develop like Western classical music.
“Isn’t classical music, like Bach and Handel, based on church music? Then, through Mozart and Beethoven, it became completely independent and developed into a single culture. If it weren’t for the anti-Buddhist policy of the Joseon dynasty, I think Buddhist music would not have developed as well. This is partly because I focused on doctrine rather than the musical aspect. Developing Buddhist music ultimately develops Korean traditional music and makes it a world-class music. Like ‘the tiger is coming down’.”
-What about other countries?
“In japan, there are almost no organizations that pay salaries like the Buddhist Conservatory or the National Orchestra of Korea. “I’m really jealous of that.”
“The fact that the state or local government creates an association and provides salaries means that the cultural ecosystem cannot be maintained unless the government steps in. Japan doesn’t pay salaries, but the number of people majoring in it is several times higher than ours. If you have the skills, most people have a sponsoring association and there is no problem in making a living with a sponsor. In Japan, even small and medium-sized businesses start by listening to at least a Japanese gayageum performance when they have a breakfast meeting at a hotel. As there is such a culture, there is no need to go and work at a place that pays a salary. “Even professors don’t want to do it.”
―Isn’t our big goal to become professors?
“As long as you have skills, you don’t often go to graduate school because everything is sold out as soon as you graduate from college. There is a world-famous composer named Minoru miki, and when I told him I was going to graduate school after graduating from a Japanese university (Musashino University of Music), he asked me what I was going to do. Are you saying you want to be a professor? I said, ‘That would be great,’ and then they told me to stop composing. “They have a different mindset than us.”
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What are the main challenges Park Beom-hoon faces in reviving Buddhist music for a global audience?
Interview with Park Beom-hoon: Reviving Buddhist Music for a Global Audience
Time.news Editor (TNE): Good morning, director Park Beom-hoon. Thank you for meeting with us today at the Buddhist music Center. Your work is fascinating, especially as you’re taking a deep-rooted tradition and reshaping it for contemporary audiences. how do you define Buddhist music?
Park Beom-hoon (PB): Good morning! Buddhist music, at its essence, intertwines deeply with Korean culture. You can think of Pansori,a form of conventional Korean singing,as a vehicle for expressing Buddhist teachings; it literally contains the words of Buddha. Over time, melodies and lyrics have transformed, but the spiritual core remains.
TNE: That’s an intriguing perspective. You mentioned that the origins of Buddhist music in Korea date back some 1,700 years. Can you explain how music evolved from the recitation of scriptures too the Pansori and folk songs we hear today?
PB: Absolutely! Initially, monks recited Buddhist scriptures with melodic tones, passing down this practice for over a millennium. This evolved into various forms like Hyangga, folk songs, and ultimately Pansori.For example, many folk songs—like Kim Young-im’s ”Returning Heart”—originated from conversion songs sung at temples. Essentially, when the lyrics resonate with Buddhist teachings, the music takes on a spiritual dimension.
TNE: It’s fascinating how closely intertwined these musical forms are with the spiritual narrative. However, you’ve expressed concern that Buddhist music has not developed on par with Western classical music. Can you elaborate on that?
PB: Yes, it’s unfortunate. Look at Western classical music; it evolved from church music, reaching broader cultural recognition thru composers like Bach and Beethoven. But due to the anti-Buddhist policies of the Joseon Dynasty, Buddhist music didn’t receive that kind of nurturing. The emphasis was heavily placed on doctrine rather than the musical artistry itself. My belief is that by developing Buddhist music, we not only promote a cultural heritage but also elevate Korean traditional music to a global stage.
TNE: That brings up an important point about cultural evolution. What do you think could be done to re-establish Buddhist music and bring it into a contemporary global context?
PB: we need more institutional support, akin to what Western classical music enjoys. This means creating structures that can nurture talent and promote Buddhist music in diverse settings,potentially collaborating with global music genres. As an example, we could incorporate modern instruments and techniques, making it more accessible to younger audiences worldwide.
TNE: You’ve pointed out that Japan has a rich tradition in this field, despite lacking organized support like the Korean system provides. How does this affect the musical landscape there?
PB: It’s a double-edged sword. While Japan has a substantially higher number of people studying traditional music, much of it is done independently without institutional backing. This leads to a vibrant underground scene, where people rally together to keep traditions alive. however, without salaries and formal organizations, sustaining this cultural ecosystem becomes a challenge. In Korea, the government involvement helps maintain this ecosystem, though we should still strive for greater public engagement.
TNE: It sounds like a balance between grassroots movements and institutional support is necessary. As an expert and educator, what role do you think musicians and students should play in this cultural revival?
PB: Musicians and students are crucial. They act as the bridge between tradition and innovation. By embracing contemporary styles and collaborating with global artists, they can reinterpret Buddhist music for modern audiences. Education also plays a vital role—teaching not just the music, but the stories and teachings behind it will inspire a deeper connection.
TNE: Thank you, Director Park. Your vision for the future of Buddhist music is inspiring. Emphasizing its connection to Korean culture while aiming for a global outreach can indeed contribute to its revival.We look forward to seeing how the Buddhist Music Center continues to evolve.
PB: Thank you for your interest! I believe we’re just begining to unfold the potential of Buddhist music, and I hope it connects with many hearts around the world.