계몽주의와 모차르트의 미사

홍세원 한국음악학회 2001 한국음악학회논문집 음악연구 Vol.23 No.1

The Enlightenment brought about a enormous change in the culture and art. There was an epochal transformation on classical music, historically based on the Enlightenment, and it was a seeking for an easily comprehensible music, not only for the special class, but also for anybody in the nation. During the period of classics, highly artistic and public music with liberal thoughts of human beings was created, getting off from the old track of the past music for God. This, periodic movement widened a range of creativity in secular music, and had pulled out a great impact on composing the church music. The Enlightenment had its emphasis on the public demand rather than the actual substances of the church music, and therefore, people limited a creation of church music with a excessive expense or complicated structure, which can be a burden. Especially, they only allowed instrumental music on a special days, and recommended a creation of simple music that is easily apprehendable for normal audiences. This occurrence became one of the definite characteristics of church music in Enlightenment. However, this occurrence may not all be relevant to the church music in classical period as a whole. On the other hand, the liberal purpose of the Enlightenment and the artistic characteristic of humanism provided us with another chance to widen the creation of church music. This paper includes historical situation and the justice of the Enlightenment from political and religious view of Austria at that time; actual church music of classical period is studied, mostly being focused on Mozart's masses. Out of church music, Mozart especially composed mass more than any other church music. Most of 20 Mozart's masses, are composed being asked from church, and mass composed while he was in Vienna were done mostly according to his liberal creativity. We can also find his exemplary mass, among the pieces composed over Vienna period. His last piece, Requiem Missa in d minor, K. 626 and C minor Missa, K. 427 are definitely acknowledged as gorgeous pieces not only among the church music, but also among all his music. Other well-known pieces besides those two are Missa Solemnis in d minor, K. 139, C major Missa, K. 167, Missa Brevis in F major, K. 192, and etc... Typical characteristics of music from Italy and Austria, which Mozart had faced from his youth, are well shown in his music. We can tell that his mass was affected a lot from Italy just by looking at the opera style of his music. Solo and Tutti part with the solid structure, built up by balanced handling of Napoli, reflex Italian music style. The music style of Austria, which is his home country, creates a mood of music as whole, and we can find opulent chords and traditional rhythm of Austria all over his masses. Mozart puts up all his creative skills in his masses. In his earlier music, he follows Baroque style, using simple structure of brevis missa style and later on, he usually composes solemnis missa style, came from his well matured creative skill. His representing mass, composed while he was in Vienna are featured with all his creative skills affected by the Enlightenment. The Enlightenment allows both conservative and progressive mode, even transcending the time. Mozart's originality, that broke out of tradition of the stmcture and normal all-equal style in mass music, presents his progressive disposition clearly although his creative style in church music similar to that of Bach and Handel shows conservative side. As we say Mozart's mass was affected by the Enlightenment, it is better to put this way that his original creation style was rather used more freely than progressive creation style of liberalism. In other words, Mozart made a connections among the past, present, and the future music creating style to the world of classical music through mass.

초기 캐롤의 음악사적 연구

홍세원 연세대학교 교육대학원 1993 연세교육과학 Vol.42 No.1

The term 'carol 'was originated by the music for 'a round dance' in medieval France. Throughout the history of music, carol was used in various meanings representing diffrent styles. Not until the eighteenth century, did 'Christmas carol' have the moaning as we know nowadays. Though carol had the religious text dealt with Christmas, it was reflected that carol was used not only for the churches but also for the court festivals and private meetings. Like the medieval polyphony music, carols have the both faces, the sacredness and the secularists Therefore, the medieval didn't try to make a difference between the sacred carols and the macular carols. Most of existing carols are 'Christmas carols' which were produced after 1700's, and there are some secular and folk carols which have the characteristics of regions. In view of the result so far discussed, we can find that early carols were found in various manuscripts and produced by the anonymous. In addition, carol was used as an auxiliary for the chapels and as an entertainments for the private meetings. From the end of the nineteenth century, the study of carol has been activated with England as its center. Though carol was originated and developed in England and Europe, it is not the property of any nation's. For carols are loved by many people in Korea, it will be desirable to compose Korean carols which are well fitted to our emotion.

초기 캐롤의 음악사적 연구

홍세원 연세대학교 교육대학원 1993 연세교육과학 Vol.42 No.-

The term 'carol' was originated by the music for 'a round dance' in medieval France. Throughout the history of music, carol was used in various meanings representing diffrent styles. Not until the eighteenth century, did 'Christmas carol' have the meaning as we know nowadays. Though carol had the religious text dealt with Christmas, it was reflected that carol was used not only for the churches but also for the court festivals and private meetings. Like the medieval polyphony music, carols have the both faces, the sacredness and the secularism. Therefore, the medieval didn't try to make a difference between the sacred carols and the sacular carols. Most of existing carols are 'Christmas carols' which were produced after 1700's,and there are some secular and folk carols which have the characteristics of regions. In view of the result so far discussed, we can find that early carols were found in various manuscripts and produced by the anonymous. In addition, carol was used as an auxiliary for the chapels and as an entertainments for the private meetings. From the end of the nineteenth century, the study of carol has been activated with England as its center. Though carol was originated and developed in England and Europe, it is not the property of any nation's. For carols are loved by many people in Korea, it will be desirable to compose Korean carols which are well fitted to our emotion.

바로크가곡의 음악사적 연구 : 초기 이태리 가곡을 중심으로

홍세원 연세대학교 교육대학원 1994 연세교육과학 Vol.43 No.-

Baroque songs were presented in the end of 16th century by Camerata in Florence, Italy developing monody which emphasized rhyme and accent against the polyphony of Renaissance. This monody was applied to solo madrigal, solo cantata and various types of aria including lute songs in Renaissance period. The term 'Baroque Song' was not given in Baroque period, it was given name in the course of collecting the vocal forms of those days by modern editors. Hence, 'Baroque Song'is not the appropriate term in the view point of music history. As Baroque songs were written in incomplete forms of monodic style, they differ from art songs of classic and romantic periods which were composed in complete forms. The perfomers in Baroque period improvised by ornamenting and harmonizing the music of this incomplete forms to make the forms complete. On the other hand, the performers nowadays depend on editors' revised versions. Although modern editors are publishing Baroque songs based on the original texts, it is not seldom to find versions of inadequate Baroque songs which do not reflect the characteristics of Baroque music. As performers absorb this modern versions of Baroque songs, their performances do not carry sufficient features of Baroque music. Under these circumstances, Baroque songs have kept away from repertoires of concerts. Consequently, audience has no opportunity for appreciationg Baroque songs. Furthermore, majority of music colleges in Korea do not offer classes regarding the advanced techniques of Baroque songs and Baroque songs taught in lower division classes are only dealt briefly. In short period of time, we can not expect the performances of professional musicians which are true to characteristics of Baroque songs. As is stated, the early Baroque songs are written in monodic forms which consist of melody and basso continuo. According to performing custom of those days, vocalists should have the ability to modify and/or embellish the melody, and likewise, accompanists to harmonize basso continuo line by improvisation. Vocalists ought to apprehend the general characteristics of Baroque vocal music and song with the controlled volume (not excessive one) in consideration of register or progression of melodies. All the more, they ought to express their own feelings through natural dynamics, not wholy depending on editors.' Accompaniment for Baroque songs should be performed on harpsichord which was in common use of that period instead of on piano which was relevant to the idioms of Romantic music. It is recommended to use continuo accompaniment on ensemble with violin, flute, and bass instruments such as cello, bassoon including harpsichord, if possible. In summary, the effect of performance of Baroque songs could be reached to an extreme when it reflects the Baroque characteristics-ornamentation of melody, controlled vocalization, and continuo instrumental accompaniment. The performance of Baroque songs must be none other than Baroque itself.

모차르트 오페라의 음악사적 의미

홍세원 한국서양음악학회 2003 서양음악학 Vol.6 No.-

르네상스 교회음악의 인본주의적 성향에 관한 연구

홍세원 한국음악학회 1997 한국음악학회논문집 음악연구 Vol.16 No.1

Renaissance church music kept the tradition of medieval music with a little structural change, but it did not make a epochal change influnced by humanism like the other arts. However Renaissance church music was expressed in various humanistic inclinations which could not he found in medieval church music. This phenomenon appeared in not radical change but gradual change. Various humanistic inclinations are found in church music of the Netherland school associated with medieval music, the new church music originated from the Reformation and the Counter Reformation and the church music of the Venetian school which shows the characteristics of future music from traditional music. In regard to religion, it can be said that Renaissance church music did not develop or retrograde as it was not composed in the medieval religious concept and the new style of church music developed slower than that of secular music. In fact, Renaissance church music was within the boundary of medieval music and did not make an epochal change. However the music of Josquin and Palestrina are known as the greatest examples of church music through the whole periods. The background of our thinking like this is based not on medieval divinity but on Renaissance humanism. It is humanism that made Renaissance church music develop out of what medieval church music produced. As humanism provided the condition which church music composers could write their music freely from the limited writing of medieval times, the composers of Renaissance church music could bear remarkably great works which were not seen before. Some people may not agree that Renaissance music which had change or development by periodical trend is defined as a music which was composed with hmanistic inclinations. However, if you study Renaissance music within the limited range of church music, it must be clear that the humanistic inclination of Renaissance brought new change to church music. Especially if you compare the Renaissance with medieval times in regard to historical background, this new change is clearer than ever. The humanistic inclination of the Renaissance should be studied comparing the religious inclination of medieval times.

중세 교회음악의 세속성에 관한 연구

홍세원 이화여자대학교 음악연구소 1997 이화음악논집 Vol.1 No.-

When we look up the history of music, the medieval of Europe is more inclined toward Christianity than other periods. Therefore medieval history is founded upon Christianity. During the medieval era, all the fundamentals related to the liturgy and Christian music were established and later these became the standards of church music. The medieval churches allowed the music that had existed in pagan into their service and liturgy. The early Christian church adopted not only new music but also pagan music or secular music. Especially Hebrew music and ancient Greek music theory are the source of early Christian music. Medieval church music such as hymn, Gregorian chant, tropus, sequence, liturgical drama, conductus and motet did not eliminate all secular elements. This means most of medieval church music more or less affirmed secular elements. Most modern christians are against the secularism of church music. Secular tunes in chorale, gospel songs sung in the service, and the various instrumental music performed in church were often disputed among Christian musicians. Some musicians even insist that the music causing secular mood should be banished because church music should be sacred. Others approve of secular elements branched off from social and periodical changes. These two different opinions have their own logic. However the secularism in medieval church music should not be understood by the measure of modern concept. If you study Gregorian chant in the context of medieval society. Gregorian chant is not necessarily strict sacred music distinct from secular music. As Christianity deeply permeated into the life of medieval people, the church music of Christianity was familiar music for them rather than just relligious music. Medieval folk tune and some other secular music were originated from church music and vice versa. If you understand Christianity and medieval music together, Gregorian chant should be regarded as popular church music considerably related to the secular music of those days. There was no clear cut between church music and secular music in medieval period as there is supposed to be today. Thus, we must recognize that the popular secular elements could be adopted in the medieval church music within the social context. But the imprudent secularism which seeks only metaphysical beauty of art neglecting religious thought was not accepted. Modern Christians criticize the secularism of church music emphasizing sacredness, but they are not aware of the secular elements hidden in church music. However this secular elements in church music was not necessarily inappropriate or wrong. The church music which can touch our hearts may not have existed without them. The only thing one should be aware of is the extreme secularism which can pollute the sacredness of church music with its profanity.

슈베르트 예술가곡의 역사적 고찰

홍세원 연세대학교 교육대학원 1992 연세교육과학 Vol.41 No.-

The purpose of this paper Is to define and examine Schubert's art song, and to help understanding and performing his songs. A song has been existed in any shape since the history of music began. All these kinds of songs, however, cannot he called "the art song," because certain musical elements shout be fulfilled to be the art song. The period when the composers interested in such musical elements may he naturally defined as Baroque period, though many a musicologist insist differently. Monody, which was composed around the year 1600 when Baroque period started, was estimated as the prototype of a solo song which was first equipped with the song form, but it was the rough song nothing but an impromptu because of the unsatisfactory musical structure. The modern type of song was introduced in such way and developed in Romantic period through Classic period, but it was not improved so much as the art song with the perfectly artistic form. Compounding his characteristic art instincts and his day lylic poems. Schubert elevated such a song to the best art song. Through this historical stydy, it comes to the conclusion that Schubert achieved the art song in a strict sense. Without estimating Schubert's artistic character we cannot appreciate and perform his songs.

현대 이태리 가곡집의 비교연구

홍세원 연세대학교 교육대학원 1983 연세교육과학 Vol.24 No.-

16세기 말경에 이태리 프로렌스를 중심으로 모인 카메라타(Camerata) 구룹은 극적인 요소를 삽입한 새로운 음악을 찾으려 하였는데, 이러한 그들의 노력은 바로크 시대의 새로운 성악음악 형식인 오페라, 오라토리오, 칸타타 등을 낳게하였다. 이러한 종류의 성악음악 이외에도, 17세기 이태리 작곡가들은 여러 형식의 성악 독창곡 예를 들면, 솔로 칸타타, 솔로 마드리갈, 통절시 아리아, 칸조네 등을 썼다. 당시의 오페라나, 기타의 극음악들은 거의 몇 번밖에 상연되지 않았으나, 이러한 성악 독창곡들이나, 여러형태의 성악음악에서 발췌한 아리아는 더욱 인기가 있었으며, 오늘날까지도 널리 애창되고 있다.

카리씨미의「 예프타 」와 헨델의 「 예프타 」 의 비교연구

홍세원 한국음악학회 1997 한국음악학회논문집 음악연구 Vol.14 No.1

The most important two forms in Baroque vocal music are opera and oratorio. These two forms were born almost at the same time around in 1600 and their musical characteristics were also similar to each other. But these two forms gradually changed as time passed. Early operas consisted of a story with simple music and gradually they were loved as a synthetic art with various visual factors including stage setting, dance and acting as well as the story and music. Though oratorios appeared with opera at almost the same time, its musical change and development required a long period of time. Early oratorios had all kinds of dramatic elements including stage settings and acting like opera. The stories formed in oratorios were not always religious. As time passed, oratorios declared differentiation from opera emphasizing religious features. The premise that oratorio should be religious excluded the visual elements and required music to keep the roll of explaning the story of libretto. As a results, oratorios lost the interest of music drama and their futures seemed to be gloomy. But the great oratorio composers, Carissimi and Handel opened the way for oratorios. Jephta was composed by both composers. Jephta is a historical work which reflects not only their musical characteristics but also the oratorio's changing process. Carissimi did not invent the form of oratorio but it was he who established oratorio artistically. Carissimi's works including Jephta are the first proper oratorios. Jephta may be said to have the true oratorio form and style. Carissimi's Jephta based on biblical stories employs 'historicus' set to music for one or more soloists, an ensemble or a chorus, the characters being represented by soloists. The styles of the solo palls range from relatively simple recitativo through a more expressive recitativo arioso. Relatively long arias are normally through composed or in AB, ABA' or strophic variation forms. The chorus plays a more important role in most of Carissimi's oratorios. Usually, the chorus replaced a narrator or crowd in the drama. Carissimi's chorus reflects upon the action and takes up the biblical narrative along with the historicus. The big difference between the early oratorios and Carissimi's oratorios is the use of chorus. Though early oratorios employed choruses, the number was few and also their rolls were not impotant. It is Carissimi who endowed chorus the most important roll in oratoio for the first time. The choruses range in size from three parts to triple choruses in twelve parts. They are often chordal and their rhythm is usually based on the accents of the text. Carissimi was very careful to express the meaning of the text; he used different keys, dynamics and word painting for the dramatic expression. But Carissimi neglected to insert instrumental music in Jephta. There is no overture or any instrumental music such as sinfonia except continuo accompaniment in Jephta. Handel is the greatest oratorio composer in music history. He wrote many oratorios. Among them, it was English oratorios that made Handel famous. Jephta was Handel's last English oratorio which was based on the Old Testament. But librettist, Morell changed the Bible story and a happy ending to conclude the third act. Handel's Jephta is more interesting than Carissimi's as Handel composed a new oratorio mixing religious and secular materals. The general structure of Handel's Jephta is the same as modern oratorios. Jephta employs more characters and choruses. Recitativos and arias are played by soloists. Compared to modern recitatives, Handel's recitatives are longer and independent. Seco recitativos and recitativo accompagnato were used for the dramatic effects. Handel's arias are extraordinarily excellent. Cantabile melody, long melisma, pause, partial melody, and dance rhythm are used effectively according to the texts. The structure of the arias consists of da cape forms and binary forms. Generally, Handel's arias concenterated more on music and Carissimi's arias concentrated more on text. Chrorus is the main element in Handel's oratorios. The most impressive feature of Handel's choral style is its immense variety. The general structures of the chorus may be classified according to a number of musical types. They are homophonic style, double chorus antiphonal style and fugal style. Handel often uses combinations of the above styles and the various techniques such as imitation, cantus firmus, unison, a cappella, and the pause of all parts. Handel completed a definite type of oratorio employing a great deal of chorus properly. Handel's choral music is regarded as the best master pieces in music history and influenced the works of later great composers like Haydn, and Beethoven. Handel's dynamics are more expressive than Carissimi's. For dynamic expression, Handel makes use of chodal and fugal styles, adding and reducing of vocal parts, various melodies, dance rhythm, pause, word painting, and chromaticism, etc., Handel's Jephta includes instrumental numbers: the overture consisting of French overture style, the sinfonia between acts, and orchestral accompaniment including continuo. Hande's orchestion is not colorful, but he treated instrumental music as a important parts in his Jephta. The Conclusion of comparing Carissimi's Jephta and Handel's Jephta is summerized as follows: Carissimi prepared a turning point for the development of oratorio supplementing dramatic elements and chorus in his works, and further more contributed to the emergence of modern oratorio. Handel adopted operatic elements in his oratorios and lifted his oratoriosto an artistic standard for the public over the limited range of religious music.