F. P. Tosti의 〈아마란타의 네 개의 노래〉 （Quattro canzoni d’Amaranta）에 대한 연구 : 이탈리아 데카덴티스모（Decadentismo）와 토스티 음악의 상관관계를 중심으로 = A Study of F. P. Tosti’s Quattro canzoni d’Amaranta- The Relationship between Italian Decadentismo and Tosti’s Musical Language

다국어 초록 (Multilingual Abstract)

Abstract

This study examines the relationship between Italian Decadentismo aesthetics and the musical language of Francesco Paolo Tosti through an analysis of Quattro canzoni d’Amaranta. Composed on texts by Gabriele D’Annunzio, these songs embody key characteristics of Decadentismo, including sensuous language, symbolic imagery, and a focus on suspended time and introspective perception. These aesthetic elements are not only conveyed through the poetry but are also realized through musical expression.

The study conducts a comprehensive analysis of the four songs, focusing on the relationship between text and music. The analytical framework includes melodic development, rhythmic and metric treatment, harmonic progression, accompaniment texture, and vocal range and phrasing. In particular, the restrained melodic movement, repetition, and limited range contribute to the suppression of overt emotional expression, instead emphasizing introspection and emotional continuity. The simplification of rhythm and the use of slow tempos further reinforce a sense of temporal suspension, shifting the focus from narrative progression to the prolongation of emotional states.

Harmonically, while tonal functionality is maintained, the frequent delay or avoidance of full cadential resolution creates a sense of imbalance between tension and release, reflecting the aesthetic of incompleteness characteristic of Decadentismo. The accompaniment employs arpeggiated textures, repetitive patterns, and gradual reduction of sonority, forming a musical space that favors inward convergence rather than outward expansion of emotion.

The findings suggest that Tosti’s Quattro canzoni d’Amaranta translates the sensuous and symbolic qualities of D’Annunzio’s poetry into a refined musical language, in which emotional expression is internalized and sustained within a static temporal framework. This work exemplifies how the aesthetics of Italian Decadentismo—particularly its emphasis on heightened sensibility, detachment from reality, and inward focus—can be effectively realized in art song.

In conclusion, this study demonstrates that Tosti’s musical language is closely aligned with Decadentismo poetics, revealing how the interaction between text and music can generate a distinctive aesthetic expression within the genre of art song.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구의 목적 1
• 2. 연구 방법 및 제한점 3
• 3. 선행연구 6
• Ⅱ. 본론 9
• 1. 시대적 배경과 토스티의 음악 세계 9
• 1) 19세기 말~20세기 초 이탈리아의 사회·문화적 배경 9
• (1) 19세기 말 유럽과 이탈리아 9
• (2) 이탈리아 통일 왕국 이후 사회 구조와 문화 환경 11
• (3) 살롱 문화와 예술가곡의 사회적 위치 14
• 2) 토스티의 생애 17
• 3) 토스티 예술가곡의 특징 26
• 4) 소결 37
• 2. 이탈리아 데카덴티스모와 단눈치오 38
• 1) 이탈리아 데카덴티스모의 형성 및 미학적 특징 38
• 2) 단눈치오의 시학과 예술관 47
• 3) 아마란타(Amaranta) 시편의 데카덴티스모적 의미 56
• 4) 소결 69
• 3. <아마란타의 네 개의 노래>의 음악 분석 71
• 1) 제1곡 Lasciami! Lascia ch’io respiri (나를 버려두오, 내가 호흡하도록) 71
• 2) 제2곡 L’alba separa dalla luce L’ombra (여명은 빛으로부터 그림자를 떼어 놓네) 93
• 3) 제3곡 In van preghi (헛된 기도 속에서) 112
• 4) 제4곡 Che dici, o parola del Saggio (무슨 말이오, 현자의 가르침이오) 134
• Ⅲ. 결론 156
• 참고 문헌 160
• Abstract 164