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RISS 인기검색어
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- 저자 : ( Hermann Gottschewski ) (검색결과 4 건)
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Meter and Rhythm in Sang-geun Lee`s Songs
( Hermann Gottschewski ) 이상근기념사업회 2016 이상근 연구 Vol.2 No.-
After some thoughts about the development of the Korean art song in the context of art songs of other countries, the usage of irregular meters in Sang-geun Lee`s songs is investigated in relation to Japanese art songs composed from the 1920s until around World War II. It is observed that the addition of a beat to a bar in the sense of a measured fermata or measured retardation, as well as the frequent use of off-beat phrase beginnings in the voice part, are common features in songs of both countries. Even the use of regularly alternating meters like 2/4+3/4 is found in some early Japanese art songs. These compositional techniques are not common in Western art songs and can thus be used to describe the peculiarities of an "Asian branch" of the worldwide art song production. It is argued that the use of irregular meters is mainly due to the struggle for an integration of Asian poetic meters into the framework of Western music, and it developed since the Japanese children`s song movement around 1920.
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쇼팽 내러티브 양식에서의 절대적인 음들: 발라드 제4번을 중심으로
( Hermann Gottschewski ) 서울대학교 음악대학 2010 음악이론연구 Vol.15 No.-
At the beginning of Chopin`s Ballade No. 4 and at two other points of the piece certain pitches are displayed as single tones or empty octaves in a characteristic manner. The dramaturgy of the piece can be understood in a new way, if we assume that these single tones are related to each other and have a meaning independent of harmonic context. Similar composing techniques can also be found in the other Ballades of Chopin and in his Sonata No. 2. All these pieces begin with single tones or empty octaves. It is argued in this paper that this composing technique is characteristic for Chopin`s style of telling a story without words. Other classical pieces also begin with a single unaccompanied tone, as examples by Beethoven, Mozart, and Brahms show. In these cases, however, the tone is in most cases an upbeat, and, if not, most probably the tonic of the piece. In the aforementioned works of Chopin, however, the beginning tones are neither upbeats nor the tonic of the piece. And they recur repeatedly throughout the piece at distinguished places in various harmonic contexts. In most of the examples examined, the beginning tone is supplemented by other tones that are displayed as single pitches at turning points of the piece. In Chopin`s Second Sonata, the distinguished function of the pitches D♭ and B♭ can be found in all four movements. In the Ballade No. 1, according to Karol Berger, an obsessive focusing on a single pitch, C, which is the beginning tone of the piece, can be observed. In the Ballade No. 2, the beginning C and the ending A of the first section are constitutive notes for all parts of the piece. In the Ballade No. 3, E♭, C, and A♭ are displayed as single tones at the turning points of the piece, and the sound of these tones characterizes the sound of the whole piece. In the Ballade No. 4, a structure of two descending fifths connected by an ascending half tone (G - C / D♭ - G♭) constitutes a dynamical field of tension between a lucid and a dark tonal environment. The slip from the lucid to the dark environment causes a dramatic conflict which is eventually resolved in the Coda. The tonal development of the Ballade No. 4 is demonstrated according to Leonhard Euler`s theory of tonal spaces. Although the specific method of beginning with a single note that goes on to characterize the story of an entire piece seems not to be used in many works other than the Ballades, investigating the function of certain pitches in the compositions of Chopin may be an interesting approach for future research.
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이경분(Kyungboon Lee),헤르만 고체프스키(Hermann Gottschewski) 역사비평사 2012 역사비평 Vol.- No.101
The first official Korean national anthem was published in July 1st, 1902, as “Korean National Hymn after Korean motifs by Franz Eckert” and thus believed to be a composition by Eckert until today by the most authors. We have found, however, that a very similar melody was already published in 1896 by Homer B. Hulbert as an example of “Korean Vocal Music”. This melody, one of the very first examples in history of Korean songs transcribed to Western notation, was seemingly a Korean folk song of that time, and there are a number of resembling folksongs that were transmitted orally at least until the late 20th century. Despite slight changes, especially in the beginnings and closings of phrases, Eckert has used the melody as a whole, and his expression “after Korean motifs” obscures the fact that it was rather an “adaptation” of a particular Korean folk song. So Eckert may have “chosen” and has certainly “arranged” the melody of the first national anthem of Korea, but he is not the “composer” of it, at least in modern terms. It is interesting, however, that no historical document is known where Eckert calls himself the “composer” of the hymn, and the circumstances and misunderstandings that occurred about it are similar in several respects to the case of the Japanese national anthem “Kimigayo”. In this paper we reconsider the historical documents concerning this song in the light of the new findings, and we stress the historical significance of Hulbert as a mediator between the Korean and Western music cultures at that time. Since Hulbert was also one of the most important researchers of Korean culture and supporters of the independence of Korea, his (perhaps unconscious) contribution to the genesis of the first national anthem of Korea should raise an increased interest in this early document of Korean-Western musical creativity.
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