교향곡에 사용된 합창음악 연구 베토벤 제9번 합창교향곡(Sinfonie Nr.9 d-moll, Op.125)을 중심으로 = A Study of Choral Music in the Symphony: Focusing on Ludwig van Beethoven’s Symphony No.9 in d-minor, Op.125 ‘Choral’

다국어 초록 (Multilingual Abstract)

This study examines the integration of choral music into the symphonic genre—traditionally developed as purely instrumental—in historical, theoretical, and analytical perspectives. Focusing on Ludwig van Beethoven (1770–1827)’s Symphony No. 9 in d-minor, Op. 125 “Choral”, regarded as the foundational and paradigmatic example of this synthesis, the research investigates the functions, musical implications, and hermeneutic meanings of choral writing within the symphonic form.
Although the symphony evolved essentially as an instrumental genre, numerous composers from the Romantic period to the twentieth century and the present day have expanded its expressive scope by introducing choral forces. The starting point of this tradition, Beethoven’s Ninth Symphony, represents a structural and historical turning point by combining chorus, soloists, and orchestra in its final movement. In doing so, it articulates and embodies philosophical ideals such as humanism, universalism, and Enlightenment thought, thereby attaining a unique position in music history.
This study first outlines the historical emergence and development of the symphonic genre, followed by an examination of Beethoven’s life, his stylistic evolution across creative periods, and the historical context, compositional background, and premiere of the Ninth Symphony. A structural analysis of all four movements is then presented, with particular attention to the fourth movement’s relationship to Friedrich Schiller’s poem “An die Freude”, its textual treatment, thematic presentation and transformation, and the interaction between chorus and orchestra. The influence of the Ninth Symphony on later composers—including Mahler, Brahms, Liszt, Berlioz, and Penderecki—is also considered to trace the lineage of symphonies incorporating choral forces.
Furthermore, the research addresses practical issues surrounding modern performances of the Ninth Symphony, such as excessive orchestral volume, reduced textual clarity, and imbalances among vocal parts. Through historical documentation and comparative analysis of major conductors’ interpretations, the study offers practical guidance for choral ensembles and conductors.
In conclusion, this research demonstrates that the choral component introduced in Beethoven’s Ninth Symphony is not merely an added vocal element but a central device that completes the work’s formal, aesthetic, and philosophical architecture. By doing so, it seeks to broaden the musicological understanding of the synthesis between symphony and choral music.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구 배경 및 목적 1
• 2. 연구 범위 및 방법 4
• Ⅱ. 본론 6
• 1. 교향곡 6
• 1) 교향곡 역사 6
• 2) 교향곡 형식 12
• 2. L. v. Beethoven. Sinfonie Nr.9 d-moll, Op.125 18
• 1) L. v. Beethoven (1770-1827) 18
• ① 시기별 음악적 특징 18
• ② 베토벤의 교향곡 24
• 2) Sinfonie Nr.9 d-moll, Op.125 의 역사적 맥락 39
• ① 역사적 환경 39
• ② 작곡의 배경과 과정 그리고 초연 46
• 3) 악장 분석과 구조적 특징 53
• ① 악장 분석 53
• ② 구조적 특징 79
• 4) 제4악장 합창 분석 82
• ① 음악적 분석 82
• ② Friedrich Schiller의『An die Freude』와의 관계 92
• ③ 가사 분석 95
• ④ 절대음악과 합창 결합의 필요성 102
• 5) 음악적 영향과 정치 사회적 영향 107
• ① 음악적 영향 107
• ② 후대 작곡가들에게 끼친 영향과 대표 작품 110
• ③ 정치 사회적 영향 118
• 6) 연주 및 해석학적 고찰 124
• ① 주요 지휘자들에 따른 연주 해석 비교 124
• ② 현대 연주에서의 문제점과 쟁점들 136
• Ⅲ. 결론 142
• 참고 문헌 145
• ABSTRACT 150