모차르트《대관미사》（K. 317） 분석을 통한 현대 지휘 이론 연구 : 루돌프와 사이토 지휘 이론 중심 = A Study of Modern Conducting Theory through the Analysis of Mozart’s Coronation Mass （K. 317） - Focusing on the Conducting Theories of Max Rudolf and Hideo Sait? -

다국어 초록 (Multilingual Abstract)

This study aims to compare Max Rudolf’s analytical conducting theory and Hideo Saitō’s sensory conducting theory through Wolfgang Amadeus Mozart’s Coronation Mass （K. 317） and to examine how the two theories are manifested differently in conducting decisions within the same musical work.
Since the twentieth century, conducting has developed beyond the simple function of beat indication into a comprehensive interpretive process that encompasses score analysis, breathing, phrase connection, and ensemble balance. Although many previous studies have explained the two theories independently, relatively few studies have examined how these approaches are applied and compared within the same musical work.
Accordingly, this study establishes three research questions focusing on the interpretive starting points of the two conducting theories, the use of conducting gestures, and their practical applicability. The research methodology combines literature review, score analysis, and comparative case study. The analytical scope is limited to the movements Kyrie, Gloria, and Agnus Dei from Mozart’s Coronation Mass （K. 317）. The study compares how the two theories lead to different conducting decisions under the same musical conditions, focusing on tonal changes, formal progression, textual flow, the balance between choir and orchestra, and major transitional passages. In addition, the researcher applied both theories in actual choral rehearsals and performances to examine their practical effectiveness and applicability.
The findings indicate that Rudolf’s analytical conducting theory is effective in maintaining ensemble stability through clear beat indication and score-based preparation. Its strengths are particularly evident in musical beginnings, transitional passages, and cadential endings. In contrast, Saitō’s sensory conducting theory demonstrates strengths in sustaining long phrases, facilitating natural connections between soloists and choir, and shaping musical tension and release through breathing and bodily movement. Practical application in rehearsals and performances further revealed that analytical conducting was especially effective in establishing clear beginnings, endings, and ensemble coordination, whereas sensory conducting was effective in maintaining phrase continuity and musical flow.
In conclusion, the two conducting theories should not be understood as opposing approaches but rather as complementary perspectives that can be employed according to the musical character and performance context. Analytical conducting is particularly effective in passages requiring ensemble precision and temporal clarity, while sensory conducting is effective in passages that demand sustained phrasing and natural musical flow. Therefore, effective choral conducting requires the balanced integration of both approaches according to the characteristics of the work and the performance situation. This study proposes a practical conducting framework and interpretive direction for contemporary choral conducting by demonstrating the complementary relationship between analytical and sensory conducting approaches.

목차 (Table of Contents)

• (Abstract)
• I. 서 론 1
• 1.1 연구의 배경 및 목적 1
• 1.2 연구 문제 및 연구 방법 2
• 1.3 선행 연구 조사 3
• 1.4 연구 범위 및 논문의 구성 5
• Ⅱ. 지휘의 역사적 흐름과 발전 6
• 2.1 지휘자의 역할 변화와 지휘 개념 형성 6
• 2.2 낭만주의 이후 지휘 개념의 확대 10
• 2.3 현대 지휘법과 체계적 교육 13
• 2.4 현대 지휘 이론의 유형 18
• Ⅲ. 루돌프·사이토의 현대 지휘법 25
• 3.1 맥스 루돌프: 분석 지휘 이론 26
• 3.2 사이토 히데오: 감각 지휘 이론 32
• 3.3 두 이론의 비교와 상호 보완 37
• Ⅳ. 모차르트《대관미사》(K. 317)의 두 지휘 관점에서의 비교·분석 46
• 4.1 사례 작품으로서 연구 적합성 46
• 4.2 모차르트《대관미사》(K. 317) 작품 분석 47
• 4.3 대표 악장 중심의 현대 지휘 적용 52
• 4.4 두 지휘 이론의 한계와 통합 적용 93
• 4.5 루돌프와 사이토 지휘 이론의 현대 지휘 영향 97
• Ⅴ. 결론 100
• 5.1 연구 요약 100
• 5.2 주요 연구 결과 101
• 5.3 연구의 의의 103
• 5.4 연구의 한계와 향후 과제 104
• 참고 문헌 106
• 부록 109