노트르담 오르가눔의 제3양식 ‘코풀라’에 관한 논의

박을미 ( Eulmee Park ) 한양대학교 음악연구소 2006 音樂論壇 Vol.20 No.-

Until the middle of the twelfth century there was no clear cut distinction between organum and discantus. Both terms simply signified the polyphonic music. However, after the appearance of the school of St. Martial with its advanced style of organum, the meaning of these two terms began to be sharply distinguished. Organum was characterized by an unmeasured, melismatic upper voice over a sustained-note tenor. Discantus was the note-against-note style in which the lower voice moves as fast as the upper voice. With the advent of Notre Dame organum, a rhythmic element became integral to the definition of discantus. In the thirteenth-century sense, discantus consisted of a strictly measured upper voice moving in a rhythmic mode and a lower voice which was also measured. There was the third musical style that was a midway between discantus and organum in the Notre Dame organum, called copula. It had the strictly modally rhythmic upper voice of discantus, and the sustained-note tenor of organum. Copula also had other features that differentiated it from the other two styles. Copula had been defined by the late thirteenth century theorists such as Johannes de Garlandia, St. Emmeram Anonymous, and Anonymous IV. It is the purpose of this study to examine the meaning of the copula which is of special importance for the organum of Notre Dame.

중세 다성음악의 발전사 : 오르가눔부터 모테트까지

박을미(Park, Eulmee) 韓國西洋古典學會 2004 西洋古典學硏究 Vol.22 No.-

중세 서양음악의 기보발전사

박을미(Eulmee Park) 韓國西洋古典學會 1995 西洋古典學硏究 Vol.9 No.-

비아다나, 아가차리, 프레토리우스의 이론서에 제시된 초기 단계의 바소 콘티누오에 관한 논의의 비교 연구

박을미 이화여자대학교 음악연구소 2014 이화음악논집 Vol.18 No.1

The ‘basso continuo’ or ‘thorough bass’ is defined as a method of indicating an accompanying part by the bass notes only. It is also called a ‘figured bass’ because arabic numerals appear above the bass notes to specify intervals to be played. In fact, the practice of figuring bass had been developed gradually by Italian organists, and immediately gained attention worldwide when the monodists began to use it in their music. The figured bass has been realized by many modern editors and performers as a chordal accompaniment which was merely a written form according to the indicated figures, without concern for how much to depart from the bass notes, how full to make the accompaniment, or how much to embellish the melody and the bass. The realization of harmony, the instrument the performer should use and whether he plays alone or with another instrument have been issues for all scholars and performers. In this paper three representative exponents, Lodovico da Viadana, Agostino Agazzari, and Michael Praetorius are chosen and their general rules on the basso continuo are compared with each other.

16세기 류트 타블라춰에 관한 연구 : 이탈리아, 프랑스, 독일의 타블라춰를 중심으로

박을미 이화여자대학교 음악연구소 2007 이화음악논집 Vol.11 No.1

타블라춰는 음고를 문자, 숫자를 사용하여 표 형식으로 보여주는 기보체계로서, 14세기 초부터 서유럽에서 사용되었다. 가장 중요한 타블라춰 체계는 류트와 오르간을 위한 것이다. 류트는 16세기에 가장 인기 있는 악기였기 때문에, 많은 양의 류트 악보들이 그 시기에 출판되었다. 류트 타블라춰의 기본 원칙은 류트의 각 코스를 나타내는 가로선에 문자나 숫자를 기입하여 연주자의 손가락의 위치를 명시하는 것으로서, 류트 타블라춰 체계에서 가로선은 류트의 개방 현들을 나타내며, 숫자나 문자는 프렛과 코스의 교점을 나타낸다. 15세기 후반에 나라들 간에 다양한 유형의 타블라춰가 보급되었다. 그 중에서도 가장 중요한 류트 타블라춰는 이탈리아, 프랑스, 독일에서 발전되었고, 이들은 16세기 동안에 널리 사용되었다, 비록 이 세 유형의 타블라춰는 근본적으로 같은 원칙에 기초하고 있지만, 선의 배열이나 표기 방식에 있어서는 서로 다르다. 본 논문은 16세기에 사용되었던 이탈리아, 프랑스, 그리고 독일의 류트 타블라춰의 특징들을 비교·연구하고자 한다. 또한 필자는 세 유형의 예로 스피나치노(Francesco Spinacino 1507활약)의 'Recercare no. 3'과 밀란(Luys Milán 1500경-1560 이후 사망)의 'Pavana del octavo tono,' 아테냥 (Pierre Attaingnant 1494경-1551/1552)의 류트곡집에 수록된 'Fortune a bien couru sur moi,' 그리고 유덴퀴니히(Hans Judenkünig 1445경/50-1526)의 'Das drit Praimel'을 보표 기보로 전사했다. 이 전사물들은 타블라춰 악보와 함께 본 논문의 마지막에 제시되고 있다. Tablature is the system of notation using letters, numerals, or diagrams to specify pitch; it has been used in western European music from the early fourteenth century. The most important systems of tablature were those used for lute, and those used for organ. Because the lute was the most popular instrument in the sixteenth century, many lute books were published during the period as well as intabulations of vocal music. The basic principle of lute tablature was to use the letters or numbers indicating frets of courses to be played, instead of showing the notes on a staff. In the systems of lute tablatures, lines represented the open courses of lute, and letters or numbers represented the intersections of fret and course. In the second half of the fifteenth century, various types of tablature prevailed in different countries. From them, three principal types of lute tablature were developed in Italy, France and Germany, and they were widely used during the sixteenth century. Although those three types of tablature were based on the same fundamental principle, they differed from each other in detail. This paper is to study and to compare the characteristics of the Italian, French, and German lute tablatures used in the sixteenth century. Francesco Spinacino's 'Recercare no.3,' Luys Milán's 'Pavana del octavo tono,' 'Fortune a bien couru sur moi,' from Pierre Attaingnant's book, and Hans Judenkünig's 'Das drit Praimel' are used as musical examples. The transcriptions of those pieces are presented with their original tablatures at the end of this paper.

<귈렐무스>의 포부르동과 김멜이론에 관한 재론

박을미 漢陽大學校 音樂硏究所 2001 音樂論壇 Vol.15 No.-

15세기 말경에 쓰여진 것으로 알려져 있는 <귈렐무스 모나쿠스>의 De Preceptis Artis Musicae는 당시의 음악 실제를 쉽게 이해시키기 위해 쓰여진 음악편람서로, 다른 많은 르네상스 이론 논서들과는 달리 이론가나 수학자의 관점이 아닌 실제 음악가의 관점에서 쓰여진 논서이다. 모두 아홉 장으로 구성되어 있는 이 논서는 포부르동과 김멜 이론, 정량기보와 비례기보, 그리고 대위법과 선법 이론 등 15세기의 음악과 음악 이론에서 가장 중심이 되고 있는 주제들을 다양하게 다루고 있다. <귈렐무스>의 인적 상황에 관해서는 거의 알려진 바가 없으며, 그의 국적마저도 아직까지 학자들간에 논란이 되고 있는 실정이다. 사실상 그가 영국인인지 아니면 프랑스나 이탈리아인인가의 여부는 포부르동 기법의 기원을 추적하는데 좋은 단서가 될 수 있을 것이다. <앤드류 휴즈>나 <알버트 씨>는 <귈렐무스>가 이탈리아 용법을 영국과 프랑스의 용법으로부터 구별하면서 'apud nos'(우리는)라는 표현을 했고, 그가 제시하고 있는 음악 예들이 당시의 라우데와 유사할 뿐만 아니라 논서의 필사체 또한 이탈리아 스타일이라는 점을 들어 <귈렐무스>를 이탈리아인으로 추정했다.

트로프로부터 전례극까지의 역사적 개관

박을미 부산대학교 예술대학 2005 藝術論文集 Vol.19 No.-

Throughout the history of music, musicians have constantly tended to borrow and rework preexistent music. Likewise, many new musical forms and styles evolved by the same practice. One of the best examples of this phenomenon can be seen in the development of trope, sequence and liturgical drama from a preexisting chant. The trope is the expansion of a chant, either by adding new music or words, or both to existing chant. Tropes were added mostly to the Introit, Offertory, and Communion, and also to the items of the Ordinary except the Credo. Tropes in the Offices most frequently occur in the responsories and Benedicamus Domino. The sequence also evolved from the practice of troping. It began as a melismatic musical trope(sequentia) to the jubilus of the Alleluia, to which poetic words(prosa or prosula) were later added. Sequentiae soon became detached from Alleluias and were written as independent sequence. Just as the trope and sequence had grown out of religious chant, so the liturgical drama grew out of the 10thc trope preceding the Introit of the Mass for Easter. The original trope in dialogue form - 'Quem quaeritis' - represents the three Marys coming to the tomb of Jesus. 'Quem quaeritis' soon became more elaborate, with an expansion of the dialogue between the Marys and the angels, or the addition of more roles. The idea of the Easter play was quickly adapted to other events in the Church year.

트루바도르-투르베르 음악의 리듬이론 : 모드리듬론과 자유리듬론

박을미 이화여자대학교 음악연구소 1997 이화음악논집 Vol.1 No.-

Until quite recently, the performance practice of troubadour-trouve're music has been discussed by medieval scholars. Of the many controversial problems still to be resolved in connection with these repertoires, the most difficult one is that of rhythmic interpretation. The large part of manuscripts which preserved troubadour-trouve're music were written in a form of notation indication just pitch and there are no clues as to rhythm. However, in a few latter thirteenth-century manuscripts of troubadour-trouve're chansons, a portion of them were written in mensural notation. These two different notational evidences suggest two different possibilites concerning the rhythm of chansons: one is 'mode rhythmic interpretation' and the other is 'free rhythmic intrepreation.' As far as the notation of chanson repertory in manuscripts do not give certain rhythic clues, the application of modal rhythm or free rhythm to the chanson should be dealt with the consideration of other related factors.