중국 예술가곡 〈청옥안·원석（青玉案·元夕）〉의 음악적 특징 비교 연구 : 작곡가 아오창췬（敖昌群）과 리옌（李硯）을 중심으로 = A Comparative Study on the Musical Characteristics of the Chinese Art Song Qingyu’an · Yuanxi （青玉案·元夕） — Focusing on the Composers Ao Changqun and Li Yan —

다국어 초록 (Multilingual Abstract)

This dissertation presents a comparative study of the musical characteristics of two Chinese art-song settings of “Qingyu’an·Yuanxi” （青玉案·元夕）, composed respectively by Ao Changqun （敖昌群） and Li Yan （李硯）. As a representative text of classical Chinese poetry, Xin Qiji’s “Qingyu’an·Yuanxi” possesses rich literary imagery, a clear emotional structure, and strong musical potential. In modern Chinese art-song composition, the same classical Chinese poetic text may be set to music by different composers, resulting in works that share the same literary source but display distinct musical languages and aesthetic orientations. On this basis, this study aims to examine how Ao Changqun and Li Yan interpret the same text through different compositional concepts and musical techniques.
The research is conducted through literature review, score analysis, and comparative analysis. First, the study examines the concept of classical Chinese poetry, the historical development of Chinese art songs, and the literary background of “Qingyu’an·Yuanxi.” It then considers Xin Qiji’s life, the historical context of the work, and the poetic structure of the text. Based on this foundation, the two art-song versions are analyzed in terms of compositional style, formal structure, tonality and basic musical elements, and the relationship between lyrics and music. Finally, the musical characteristics of the two versions are compared in order to clarify how the same literary text is realized as different musical outcomes.
The analysis shows that Ao Changqun’s version is characterized by a vocal-centered compositional approach. The vocal melody generally avoids excessive leaps or dramatic expansion, and instead proceeds within a relatively restrained range through stepwise motion and natural melodic flow. The piano accompaniment mainly functions as a supportive background layer, maintaining balance with the vocal line rather than assuming an independent narrative role. In terms of form and structure, Ao’s work develops through continuity and gradual accumulation rather than through sharp contrasts or abrupt sectional divisions. Its tonal organization also maintains a relatively stable sense of tonal center, while subtle harmonic color, partial dissonance, and changes in sound density are used to regulate tension and relaxation. In the relationship between lyrics and music, Ao emphasizes the natural rhythm, pronunciation, and expressive flow of the poetic language. His setting may therefore be understood as a restrained and lyrical musical interpretation that focuses on the inner emotion and literary meaning of the text.
By contrast, Li Yan’s version places greater emphasis on the active role of the piano accompaniment, rhythmic organization, and sound texture. From the beginning of the work, the piano forms an independent musical flow and contributes significantly to the temporal and spatial construction of the music. The vocal line is placed within this rhythmic and sonic framework, while the accompaniment continues to drive the formal progression through repeated rhythmic patterns, changes in texture, expansion of register, and accumulation of sound density. In terms of tonality, Li’s version also maintains a certain sense of tonal center, but it creates stronger contrast and tension through harmonic color, rhythmic subdivision, register expansion, and vertical sonority. In the relationship between lyrics and music, Li does not merely set the poetic text to melody; rather, he expands and reconstructs the spatial, temporal, and visual imagery of the poem through musical means. His version thus presents a more vivid, pictorial, and spatialized interpretation of the festive scenes and emotional implications of the poem.
In conclusion, although Ao Changqun and Li Yan both set the same text, “Qingyu’an·Yuanxi,” their works reveal clearly different musical structures and aesthetic directions. Ao Changqun’s version emphasizes vocal lyricism, textual clarity, and the refined expression of inner emotion, whereas Li Yan’s version highlights structural propulsion, rhythmic and sonic organization, and the expansion of poetic imagery into a broader musical space. This comparison demonstrates that the same classical Chinese poetic text can generate diverse musical interpretations depending on the composer’s creative concept, musical language, and aesthetic orientation. The study also provides a useful analytical reference for future research on Chinese art songs based on classical Chinese poetry, as well as for vocal performers seeking to understand and interpret different musical settings of the same poetic text.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구 목적과 의의 1
• 2. 연구 방법과 범위 5
• 3. 선행연구 6
• Ⅱ. 본론 9
• 1. 중국 예술가곡의 발전 9
• 1） 중국 예술가곡의 발전 과정 9
• 2） 중국 고시사의 개념 22
• 2. 「청옥안·원석（青玉案·元夕）」 개요 23
• 1） 시인 신기질（辛棄疾） 23
• 2） 창작 배경 24
• 3） 시사（詩詞）의 분석 25
• 3. 아오창췬（敖昌群）의 「청옥안·원석」 29
• 1） 작곡가 아오창췬 29
• 2） 작품 분석 31
• 4. 리옌（李硯）의 「청옥안·원석」 78
• 1） 작곡가 리옌 78
• 2） 작품 분석 81
• 5. 아오창췬과 리옌의 「청옥안·원석」의 음악적 특징 비교연구 139
• 1） 작곡 양식 비교 139
• 2） 형식 및 구조 비교 144
• 3） 조성 및 기본 음악 요소 비교 147
• 4） 가사와 음악의 관계 비교 149
• 5） 소결 152
• Ⅲ. 결론 154
• 참고문헌 157
• Abstract 162