Piano를 위한 "Paganini練習曲"의 硏究 : Schumann, Liszt의 개작을 중심으로 especially concentrated on the transcriptions of R. Schumann and Franz Liszt

鄭恩謨 漢陽大學校 人文科學大學 1983 人文論叢 Vol.6 No.-

The thesis treats the Robert Schumann and Frantz Liszt transcri-ptions on "Paganini Studies for Piano. " Schumann published two sets, 6 pieces each, of transcriptions of Paganini Etudes, in 1833 (Op. 3) and 1835 (Op. 10), whereas Liszt transcribed six Paganini Etudes for piano in 1838. All these works except the third piece of Liszt's (the variation on a theme of Paganini's concerto in b minor) were transcribed for piano from Pa-ganini's "24 Caprices for Unaccompanied Violin Op. 1. Paganini marked on epoch in the history of performance in music early in the 19 th century, with his excellent technique and unprece-dented presentation skill. The foremost virtuoso changed the populal concept on the performance simply as the realization of what wer written on the music score and proved the possibility of the perfor. mince itself as a creative art. He made it firm that the technique in performance cannot be merely the aim itself but the means for artistic expression. The new idea greatly moved Romantic pianists such as Chopin, Schumann and Liszt who heard Paganini play with their bare ears when they were young and yet beginner composers Their new experience made them inspired for the new era to come. Chopin demoustrated his unique way of expression that peer the original Paganini, in his two sets of so-called Concert Etudes Op. 10 and Op.25. Schumann developed his own piano idiom based on Paganini methodology, which formed core of the pianist-composer's music production along with his poetic talent. Liszt became one of the foremost pianists in the history as he explored Paganini's secrecy of performance technique through strenuous training. Schumann and Liszt's transcriptions on Paganini Etudes have signi-ficance in the fact that they are more than for mere improvement in the performance technique: they serve the base for the musical :idioms and techniques found in the two composers' other works for piano. On the basis of these Etudes, Schumann achieved his unique technique in "Etudes Symphonique, Op. 13" and Liszt composed "Transeendent Etudes. " In this context these Etudes are indispensable for the understanding of the styles of the works by the two 19 th century pianist-composers. They are Etudes for concert as well as for studies aimed at technical improvement. The intention of these studies can be categorized as follows. 1. To transfer the convinience of the violin devices on the piano. 2. To solute the difficulty of the violin devices on the piano- 3. To reconstruct on the piano, the musical expression and the accoustic characteristics of the original piece. These works were originally written for piano studies, but they are excellent enough to be presented as concert program. But the real value of these works can he discoverer only when the performer has an insight into composers' real intentions hidden behind the notes on the score and presents the clear image. To explore the composers' latent imagination is the job of excellent performers. The artists' technique will narrow the distance between the music notes and the composers' original ideas, and it's the function of performance on music. The discovery of the composers' hidden intentions will help the pianists fulfill the prime aim of the Etudes; the achievement of performance as an art of re-creation and the closer access to the spirit of Paganini.

알렉산더 스크리아빈(Alexander N. Scriabin)의 피아노 작품에 관한 고찰 : 10 개의 피아노 소나타를 중심으로 His 10 Piano Sonatas

정은모 한국음악학회 1997 한국음악학회논문집 음악연구 Vol.14 No.1

Alexsander N. Scriabin, 1872-1915, is a representative figure during the transition period of modern music who connected the last 19th century music to that of the early 20th century Russian Music. His World of music, through first starting from Romanticism, gradually encountered Mysticism, and shows his to Atonalism at last by establishing his peculiar chord system of the reiterative fourth. He had been more interested in composing characteristical musical language that is double fourth harmony what is so called mystic Chord. He was desired to express his musical world is ranged within piano and orchestra than any other instruments. This study is concerned with Scriabin's 10 piano Sonatas which throughly showing his creation of Mystic chord and look through in the point of view of its melody, rhythm, Harmony, and form and performing skill.

리스트 練習曲에 關한 硏究 : Etudes d'Execution Transcendante

鄭恩謨 漢陽大學校 人文科學大學 1987 人文論叢 Vol.13 No.-

This study is a new valuation on the effect of Liszt's "Etudes d'Execution Transcendante" as piano exercising text for the students. Liszt, while known as a rarely ingenious pianist through history, left a few piano etudes and "Etudes d'Execution Transcendante" is named the most valuable etude. It is a known fact that this text had been rewritten three timesby Liszt for 25 Fears before it was completed finally. The first draft was written in 1826 by 15-years-old boy Liszt, which was almost passed for his teacher, Czerny's study. Liszt worked out the revised version in 1838, the prime period of his life, in which he accumulated all the technical difficulties crested for himself. Finally the third work was completed in 1851 when the compose could devote himself to creation, so he could revise and simplify the previous works more drastically. Liszt succeeded teacher Czerny in his conventional techique, adapted Paganini's dextrous skill and inherited Chopin in his romantic and original expression. It is generally recognized Liszt's works affected by other composers like Schumann, Berlioz and Wagner who represented romanticism of the time. This etude can be called a success that represent 19 century Paris' style pianism. This text is composed of 12 pieces by pieces by decending circle of fifth, one in each major & minor key. A cycle constitute one work rather than separate pieces. And in all but two he added a description or poetic title to most of studies. The structure of the work adopted binary or ternary form which can be characterized as extensive use of thematic alternation. The main technical particulars seen in this study are 1. specifice playing method sharing speed and power between the hands 2. rapid repeated notes 3. technique of wide skips 4. three handed effect 5. diversity of expression Through these techniques of playing, Liszt not only showed himself as the creator of new and revolutionary technique, but also through his expressive powers clearly marked himself as one of the leaders of the Romantic school. Accordingly, it must be insisted that this etude is not merely a exercising text but a highest-level-work to be played technically by the pianists to confirm their own final stage of technical completion. In that sense this should be called a transcendental work and a real concert study. This type of expressing skill of Liszt piano technique was followed by 19 century impressionsim and throw suggestions to open a new pattern of 20 century piano music. In this respect, this etude must be evaluated dear for training students as meaningful material in history of western music.

J.S.Bach 平均率에 關한 硏究 : piano 學習資料의 觀點에서 Examination as a Piano Studying Material

정은모 漢陽大學校 人文科學大學 1993 人文論叢 Vol.23 No.-

This thesis is a study of J.S. Bach's "Well -Tempered Clavier", especially discussing its significance as a piano studying material. J.S. Bach completed the whole 24 pieces of the first volume of WTC (Well -Tempered Clavir)Preludes and Fugues in 1722. And the second volume is known to be completed 20 years later, in 1744. There are not many literature or documents concerning this work collection. This is primarily due to thy fact that, during his whole life he belonged to a church or royal chamber and therefore contacts with the public were scarce, and also that this work was not published during his existence. This work was first published in 1800 and it was only in 1837 when Czerny published its edition which became widely available to the public. But even before that, it was made public by his sons including C.P. E. Bach who were famous In the music society. And great masters of classicism such as Clementi, Haydn, Mozart and Beethoven were influenced by his works. In the beginning of the 19th century, his wokrs were revaluated by Schumann, Mendelssohn, and so forth, and after the establishment of the Bach-Gesellenschaft in 1850, a systematic documentation of his works has been done. Studies of J.S. Bach were accelerated after the 20th century due to first of all, the increasing importance of his works as formal repertoires in concerts, second, the great interest composers of the 20th century have in his works and his style, third, development in the field of music theory. It is difficult to reach a clear conclusion on his intentions of composing WTC. Thus, estimating his intentions through documents is the first procedure and purpose of this thesis. The conclusions are: First, WTC seeks a new expression obtained by a freedom of tonality through the use of equal temperament. Second, this collection was essentially made for the keyboard instrument. Third, this collection was not only for the keyboard studying but also for those willing to study musical phenomenons. Fourth, Prelude & Fugue is a chronicle as well as a synthesis about the musical style and composition techniques that J.S. Bach has been pursuing through his whole existence. Fifth, this collection was prepared for the music in the future. In the second part of this study, the style and constitution of the works included in WTC has been examined. Through this procedure, one can observe that J.S. Bach has collected all the musical genres and polyphonic styles stallion from Gothic through Baroque era and has included them in his collection. Thus, this collection has been proved to have various purposes besides simply being repertoires for concerts. In the third part of this study, performance techniques have been examined. In WTC, J.S, Bach has presented many expressions and exercises for technical training, necessary for keyboard performance. But he dose present unique method unattainable only by technical training without musical understanding. In this respect, WTC presents a method to reach the summit of keyboard performance, which is the reason why this work has been proved to have a significance as an important and indispensable studying material for those studying the piano.

쇼팡의 作品에 關한 硏究

鄭恩謨 漢陽大學校 人文科學大學 1985 人文論叢 Vol.10 No.-

The following proposition is a study focused on the process through which how Chopin's music had been written abreast with his life itself. It must be noted that the first step of Chopin's music activity was taken as he wrote a polonaise and mazurka on the basis of Polish folk music. Uncommon as it was that he wrote these in the middle of 19th century, it is not impossible to imagine the atmosphere of his native country, Poland, that had been threatened by the Czarist Russia consistently. The political, social, and cultural environment of 19th century Poland, planted the strongest influence in the mind of young genius, furnishing him with colorful nationalistic traits of Polish culture. Chopin entered the Warsaw Music Academy in 1826, where he could afford opportunities for learning basic technique and patterns of Western music in general. Before he began his life in Paris in 1831, he was able to travel all over the Europe. From this experience, he was led to recognize the flow of romanticism, prevalent in Europe in 19th century. Some nocturns and waltzes were composed in this period, together with etudes, the latter being one sure proof that he was much influenced by Paganini, the most gifted violinist of his time. Besides Paganini, Chopin enjoyed a vast school of music associates who were indulged in elegant Salon style life with contemporary artists. It was 1839 that his music pattern, constructed in his early period, began to be transformed into far more matured and refined level, when he could produce large scale works as ballads or scherzos. His activities as a composer with unusual insight and perception as to the future popularity of classicism, continued with enthusiasm until 1847. From the year he was in the course of decline in talent and health at the same time, suffering from poor health and poverty after separation with his lover, George Sand. The characteristics of Chopin's music can be found in his specific piano terms. The expressive creativeness of his piano works was brought about by his love of Polish blood. The nationalistic traits of Chopin's art is seen mostly in the folk dance rhythm, such as mazurka and polonaise as well as in his sensitive description of modal scales and color. Chopin succeeded also in reproducing the polyphonic fingering based on the Bach music, using extended harmony, effect of pedalling and lubato technique. His broken chordal accompanyment pattern, with the effectiveness of pedals, presents beautiful lyricism being decorated by soft terms. His melodies being highly valued in sensual and vocal beauty, they have appealing power to the people. His composition consists in a structure built in a free forms. Most of his works reveal the successful achievement in transforming the sonata structure into literary forms, but his uniqueness of free expression through piano sounds be attributed to his ability of harmonious composition. In general, the world of Chopin can be said to be a creative world of purness and genuineness. He was one of the gifted composer who set the foundation for the 19th century piano music of Europe with his geniusness and Polish spirit. He opened a door leading to the neoclassicism and also internal spiritual world of human being.

피아노 기술의 연구 : 18 세기 fingering 을 중심으로 ESPECIALLY ON FINGERINGS IN THE EIGHTEENTH CENTURY

정은모 한국음악학회 1991 한국음악학회논문집 음악연구 Vol.8 No.1

This thesis is a study on the 18th century piano technipues especially on fingerings, which is an integral part of piano performance. Fingering doesn't mean just a simple technical skill, but relates directly to mental activity-imagination, As C.P.E. Bach have mentioned "Attack and touch are one and the same thing. Everything depends on their force duration." During sixty year's period since the piano was first introduced by B. Christofori at Italy in 1720's the piano technques had been devloped to the characteristics of the piano with its gradual improvement from the initial form or structure similar to the harpsichord. Many theoretical pioneers from C.P.E. Bach (Versuch u¨ber die wahre Art das Clavier zu spielen, published in 1753) to C. Czerny (complete and practical pianoforte school, published in 1837), greatly contributed to open the immense possibilities in techniques of piano performance, taylored to its own characteristics. The grest performers such as Mozart, J.C. Bach and Clementi also expanded the practical world of piano Music as a performing art. Clementi, Cramer and Hummel also contributed to build theoretical systims of these techniques in many literatures and spread them. In the eighteenth century, the theory and pratice of fingerings for piano entirely depend upon C.P.E. Bach and M. Cleminti. Bach developed a fingering system for scaling on each tonality and usage of all fingers, with totally different touches from those for the harpsichord. Clementi, on the other hand, devised proper vocabulary for piano music, and developed many technical systems, phrasing techniques, double-note scales, ect. Based on these pioneering and experimental experiences, Czerny have completed modern form of technical systems for piano music, by the early nineteenth century. At that time pianist lie J. Field, Mocheles and Kalkbrenners have exploited expression vocabulary to lead to the Romanticism. All these efforts resulted in full bloom of lyric nature of piano music in the Romanticism. The study of fingering techinques in the eighteenth century gives a valuable lesson that musical demands for new age make musicians to those who regards technical perfections as an artistic value itself.

Chopin 練習曲의 意義와 價値에 關한 硏究

鄭恩謨 漢陽大學校人文科學大學 1981 人文論叢 Vol.2 No.-

This is an attempt to appreciate the significane, value and characteristics of Chopin's 27 Etudes. F. Chopin can be said to have written most pianistic composition in literature as a distinguished composer of romantic piano music together with R. Schumann and F. Mendelssohn. The characteristics of Chopin's studies consist in that they are conspicuously different from early 19c's common piano pedagogics for lessons which are based on classicism. His studies are also evaluated as reformed poems of music that give suggestions of 19 century's romantic piano method and technical tendency. In other words, the historical significance of his compositions lays in that they suggest a new direction of concert studies by combining Paganini's artistic expression and advanced technique with Hummel or Clementi's classical method of traditional piano music. Chopin published all 27 of study pieces by three times through his life time. His first publication of study, "Op. 10" was written in his early days of unknown music composer. He wrote it for his own practices and improvement of piano skill. Next publication of Op. 25 was done during his Paris days when he enjoyed his fame as most distinguished piano player. Here he opened a new chapter for piano skill of brilliant technique. The last publication of his "Trois Neuvelles Etudes" was entered in "Methode des Methode" of Moscheles-Fetis. He composed these for the purpose of educating and popularizing the new tendency of his music and piano technique. Chopin endeavored mostly to expand the limited world of music expression through varieties of infinitely developing techniques, eliminating traditional pedagogic method of mechanical practices. His work was not possibly established if it had not been for his acute inference and artist's intuition and consequently it would be impossible to evaluate his works without mentioning his exploit as artist. The characteristics of Chopin's etudes demand your posture of extended hands on the base of extended broad harmony. And in fingering, he attempted the old style of exchanging pass of 4th finger over 5th or adapting thumb on black keys. This method demands you to strengthen your finger power or flexible finger movement. And he is also unique in gliding slide method on white or black keys, practice of wrist for legato, adaption of use of arms for octave playing or strong harmony. His works are also unique in that you can not get the original effect without pedal find also without mastering his characteristic Rubato or singing legato method. These traits are indispensable for pianist when you are to experience the peculiar world of pianistic sonority and grow ability of musical expression. These studies are constructed on the ground of simple motif and harmonic progressing in common with Bach's prelude or toccata of Baroque era. But in developing phase, they show attempts of variety, powerful fluent melody, rhythmic delicacy, dramatic construction, richness of sound promising most brilliant repertoires for your concert. In particular, his unique pianistic invention of sound terms in harmonic device is appreciated as the highest value of the works, There is found clear musical significance in the technical brilliance and practical aim of the studies. It is surprising to find what kind of expression these techniques can creat. It means not only that a certain technique is able to produce various expressions but also that how much skill is necessary for variety of music expression. In this sense, Chopin's studies can be described to be first revolutionary works suggesting that the final ends of technique can be identified with the musical meaning itself at the same time. The tendency of this trait led to the blooming of 19 century piano literature through from Liszt and Brahms to Scriabin and Rachmaninoff. That is, Chopin succeeded in proving how vast territory of expression pianism can explore and how much subject it can provide. The value of Chopin's studies is to be described as the land mark of understanding 19 century piano music of romanticism. And also they are evaluated as keystones for practicing and mastering of artistic skill for those who start themselves as full-scale pianist. They are not only the short cut through which Chopin's world can be reached but also program provider for the decoration of concert hall. For further research of these features of Chopin, this study would be valuable and significant.

J.S. Bach 2,3 聲 Invention의 練習曲的 價置의 硏究

鄭恩謨 漢陽大學校 人文科學大學 1988 人文論叢 Vol.16 No.-

Johann S. Bach left an exploit in 1723 by writing 30-piece set of combined two-voiced Inventions and Three voiced Sinfonia to help the exercisers of keyboard instruments in training course. The considerate composer rerealed in the preface of the work that he aimed to promote the students' technical ability in playing two or three voiced counterpoint musical operations and contabile methods for strings while developing power of musical comprehension. The work was finished by the closing stage of Cothen Age(1717-23). While the great musician completed the first collection of Welltempered Clavier he recognized the urgent necessity of exercising book for the preparatory steps. In due course, the two voiced Pracambula and Clavierbuchlein Wilhelm Friedmann and three voiced Fantasia were rewitten and reinfored for the exercising purpose. As the work was created during the foremost maturity of the composer, it successfully included every patterns found in Baroque Age Keyboard Music and counter-point techniques with no exceptions. Invention is characteristic in its operational patterns designed for developing these motive themes and in its imitation quality written for counterpoint imitation technique. It would be better described as proper form for excercise as it is equipped with broader of freer expressive function than general fuga pattern. The motive themes from Inventions provide a player with precious exercising opportunities by inducing him to experience many repititions, various application and skill promotion. Invention can be used for systematic training which one should follow step by step for the progressive exercise from scaling and saparate chords to more advanced exercise. Through this pattern, it is also possible that in multiple voiced exercise work, one finds opportunity to skill the fingers separately, for different voice development. And also through application exercise of longer melodies, one can improve in handling skill of legato or cantabile pattern. Besides these, chances to meet Baroque style decoration notes are found. It is obvious that Bach created this exercise work for the promotion of comprehensive techniques through each pieces, and that the ultimate aim of the exercise work should be explained to educate the students for perfect understanding of Bach's music as well as matured techniques.

Agrobacterium 을 이용한 Indica 형 벼 형질전환 효율개선

손재근,정은모,권용삼 한국육종학회 2002 한국육종학회지 Vol.34 No.3

To improve the transformation efficiency by Agrobacterium tumefaciens mediation in indica rice, we used calli derived from immature and mature embryo. Calli formed from immature embryos produced more transgenic plants than those from mature embryos. The m

들깻잎 중 살충제 Benfuracarb의 Carbofuran으로의 전환

신병곤,박대한,정은모,김진호,이호진,김종구,김장억 한국농약과학회 2002 한국농약과학회 학술발표대회 논문집 Vol.- No.-