슈만의 연가곡에 나타난 형식 및 표현 기법의 비교 연구 : -「Frauenliebe und Leben」, Op. 42와 「Dichterliebe」, Op. 48을 중심으로-

국문 초록 (Abstract)

국문초록
슈만의 연가곡에 나타난
형식 및 표현 기법의 비교 연구
-「Frauenliebe und Leben」, Op. 42와「Dichterliebe」, Op. 48을
중심으로-

조 석
음악학과 성악전공
국립경국대학교 대학원

이 논문은 로베르트 슈만(Robert Schumann, 1810–1856)의 두 연가곡 「Frauenliebe und Leben」, Op. 42와 「Dichterliebe」, Op. 48을 대상으로, 각 작품이 연가곡이라는 장르 안에서 어떠한 구조 원리와 음악적 조직 방식을 통해 형성되는지를 비교·분석한 연구이다. 두 작품은 그동안 19세기 독일 가 곡에 관한 여러 연구를 통해 가장 빈번하게 다루어진 대상이지만, 같은 해에 작곡된 이 두 작품이 작곡의 방식상 서로 전혀 다른 구조를 취한다는 점, 그 리고 이를 하나의 분석적 틀 아래에서 체계적으로 비교한 연구는 충분히 이루 어지지 않았다고 판단하였다. 따라서 본 연구의 목적은 이 두 작품이 곡들을 하나의 연작으로 묶어내는 방식에 어떤 차이가 있으며, 그 차이가 슈만의 연 가곡 개념을 이해하는데 어떤 통찰을 제공하는지 규명하는 데 있었다
연구는 세 가지 항목을 중심으로 진행되었다. 첫째, 두 작품의 조성 전개와 음악적 소재 사용 방식을 검토하여 곡들 사이의 연결 원리를 분석하였다. 둘째, 시의 내용과 음악적 흐름이 어떤 대응 관계를 형성하는지를 분석해 정서의 전개 방식을 파악하였다. 셋째, 피아노가 성악과 어떻게 역할을 나누며 작품의 감정적 층위를 확장하는지를 살펴보았다
분석의 결과 「Frauenliebe und Leben」은 B♭장조와 E♭장조를 중심으로 곡의 흐름이 비교적 명확한 방향을 따라 전개되도록 구성되어 있음이 확인되 었다. 절제된 성악의 선율은 가사의 정서를 직접적으로 전하며, 피아노는 기 억·회상·정서 변화의 심리적 흐름을 보완하는 역할을 수행하였다. 반면 「Dichterliebe」는 일정한 조성 방향을 따르지 않고, 아르페지오 유형·반음 계 진행·공통 선율 동기와 같은 반복적 음악 요소들을 작품 전반에 배치함으 로써 곡들이 서로 간접적이고도 지속적으로 연결되도록 설계되었다. 이러한 방식은 하이네(Heinrich Heine, 1797–1856)의 시가 지닌 아이러니와 화자의 정 서적 불안을 더욱 섬세하게 반영하며, 특히 피아노 후주는 텍스트가 직접 말 하지 않는 의미를 암시하는 핵심 장치로 기능한다. 그러므로 이 연구의 핵심 은 두 작품의 표면적 차이(여성 화자·남성 화자)보다 곡들을 하나의 연작으 로 구성하는 방식의 차이가 훨씬 본질적이라는 점이다. 「Frauenliebe und Leben」은 조성 흐름을 따라 곡들의 순서를 안정적으로 구축하는 방식, 「Dichterliebe」는 음악적 소재의 반복과 변형을 통해 감정을 되돌려 놓는 방 식으로 전체 구조를 형성한다. 이러한 비교는 슈만의 연가곡이 단일한 작곡 전략에 의해 정의되지 않으며, 정서의 전개·곡 간 연결·성악과 피아노의 기 능 관계를 해석하는 새로운 틀을 제공한다는 점에서 의의가 있다.

목차 (Table of Contents)

• 목 차
• 국문초록 ················································································iii
• Ⅰ. 서론 ····················································································· 1
• 1. 연구의 목적 ········································································· 1
• 2. 연구의 방법과 구성 ······························································ 2
• II. 본론 ···················································································· 4
• 1. 로베르트 슈만과 두 개의 연가곡 ············································· 4
• 2. 「Frauenliebe und Leben」, Op. 42 ·································· 6
• 가. 작품의 개요 ········································································ 6
• 나. 작품 형식에 관한 개괄 ························································· 7
• 3. 「Frauenliebe und Leben」, Op. 42의 주제별 분석 연구 ····· 10
• 가. 조성의 구조········································································ 10
• 1) B♭ 중심 선형 구조 ······························································· 10
• 2) E♭ 중심 순환 구조 ······························································· 12
• 나. 시와 음악의 상관 구조 ························································· 15
• 1) 제1곡 <! Not Allowed Tag Filtered >&lt;Seit ich ihn gesehen&gt; ········································· 16
• 2) 제2곡 <! Not Allowed Tag Filtered >&lt;Er&gt;, der Herrlichste von allen&gt; ···························· 17
• 3) 제3곡 <! Not Allowed Tag Filtered >&lt;Ich kann’s nicht fassen&gt; ··································· 18
• 4) 제4곡 <! Not Allowed Tag Filtered >&lt;Du Ring an meinem Finger&gt; ····························· 20
• 5) 제5곡 <! Not Allowed Tag Filtered >&lt;Helft mir, ihr Schwestern&gt; ································· 21
• 6) 제6곡 <S>üßer Freund, du blickest&gt; ······························ 22
• 7) 제7곡 <! Not Allowed Tag Filtered >&lt;An meinem Herzen&gt; ·········································· 24
• 8) 제8곡 <! Not Allowed Tag Filtered >&lt;Nun hast du mir den ersten Schmerz getan&gt; · 25
• 다. 피아노의 역할 ····································································· 29
• 1) 화자 표현과 감정의 도구 ······················································· 29
• 2) 후주의 기능 ········································································ 35
• 4. 「Dichterliebe」, Op. 48 ····················································· 39
• 가. 작품의 개요 ········································································ 39
• 나. 작품 형식에 관한 개괄 ························································· 40
• 5. 「Dichterliebe」, Op. 48의 주제별 분석 연구 ························ 45
• 가. 회상의 장치를 통한 유기적 연결 ··········································· 45
• 1) 아르페지오 ········································································· 46
• 2) 응시형 선율 ········································································ 49
• 3) 탄식과 한숨의 멜로디 ·························································· 50
• 4) 계류음을 통한 감정의 지연 ··················································· 52
• 5) 테트라코드 ········································································· 55
• 나. 시와 음악의 상관 구조 ························································· 56
• 1) 시어와 반음계주의 ······························································· 56
• 2) 시어와 비정형적 화음 ··························································· 61
• 3) 언어의 조합과 해체 ······························································ 63
• 가) 시와 음악의 일치성 ····························································· 63
• 나) 시와 음악의 불일치성 ·························································· 66
• 다. 피아노의 역할 ······································································ 71
• 1) 화자 표현과 감정의 도구 ························································· 71
• 2) 후주의 기능 ·········································································· 76
• III. 결론 ····················································································· 83
• 참고 문헌 ··················································································· 85
• Abstract ················································································· 90