A Study on the Compositional Techniques of Debussy’s “Rhapsody No.1 for Clarinet and Piano”

방수경 사단법인 미래융합기술연구학회 2021 아시아태평양융합연구교류논문지 Vol.7 No.4

The birth of Achille-Claude Debussy’s (1862~1918) music in the 20th century created the path of development into modern music. Western music history from the romanticism period marked the beginning of the modern music era, and throughout the history of Western music are these very important landmarks. Debussy was not from an affluent family, but this did not stop his keen musical talents. With his inherent rebellious spirit and nobility, his intention to symbolize literature and integration with the characteristics of Impressionist Paintings eventually formed their own exploration in his own unique language and the arts charm. Rhapsody No.1 for Clarinet and Piano (Première Rhapsodie) is one of the masterpieces of Debussy’s successful music career. It is a completely different technique when compared to the classical and romantic periods. This can be called a breakthrough from traditional music into modernism. The analysis of the composition technique of Debussy’s Rhapsody No.1 for Clarinet and Piano enables us to realize the influence of literary symbolism and impressionist paintings on the creation of impressionist music. Therefore, this article takes Debussy’s Rhapsody No.1 for Clarinet and Piano as the research object. Form and analysis of music is used for research method, and analyzes the form, melody, harmony, rhythm, and sound from the two aspects of literacy symbolism and impressionist paintings. The research results are as follows. First, although it is a compound ternary, the characteristics of the piece take the form of a sonata. Second, the piece dilutes the melody, abandons the major and minor scales, and adopts the polytonality. It is conducive to the diversified expression of images and emotions in literary symbolism. Third, its harmony uses nine chords, eleventh chords, and thirteenth chords instead of triads and seventh chords. It uses of a large number of appoggiatura and acciaccatura, thus, the functionality of the harmonization is weakened and the color of the harmony is increased. Fourth, it uses the speed of the rhythm and the changes of sound to softly express the contrast changes of various light colors, perceptual imagination, and a kind of mystery.

포스트 코로나 시대의 비교과 프로그램 운영 사례 연구 : 영국 PSHE 사례 분석을 중심으로

방수경 한국문화융합학회 2020 한국문화융합학회 전국학술대회 Vol.2020 No.3

중국 현악기 축(築)의 형성과 소멸 : 세션 3-4 : 빅데이터 시대의 예술 연구

방수경 한국문화융합학회 2020 한국문화융합학회 전국학술대회 Vol.2020 No.2

사상가들의 여성해방이론

방수경 덕성여자대학교 1986 근맥 Vol.17 No.-

건서 슐러의 <String Quartet No. 1>을 통해 본 음렬 기법과 재즈의 조화

방수경 글로벌지식융합학회 2021 글로벌지식융합학회 학술대회 자료집 Vol.2021 No.2

Functional Features and Significance of the Times of Neo-Romantic Music in the 1970s

방수경 한국문화산업학회 2017 문화산업연구 Vol.17 No.2

Due to the influence of postmodernism in the 1960s, a trend was observed that avant-garde composers returned to tonality in the pre-twentieth century. Thus, the composers no longer pursued only serialism, but combined avant-garde music with composition music instead. The resulting work of this combination was called Neo-Romantic Music. This study analyzes functional features of Neo-Romantic Music in 1970s and sheds light on its significance of the times. This study further proposes a direction at which pure musical composers of our time should aim.

C-Pop Aesthetical Characteristics and Aesthetic Significance

방수경,이우창 사단법인 인문사회과학기술융합학회 2017 예술인문사회융합멀티미디어논문지 Vol.7 No.8

C-Pop(Chinese Pop music) has turned out to be Chinese mainstream music up to now. As a school of music, it not only enjoys distinguished charisma, aesthetical quality, and values of aesthetic significance but gain a vast number of audiences. C-Pop brought great impact to aesthetic theory of traditional music, traditional performance and creative idea, and aesthetic habit and method of traditional music, meanwhile, transformed moral ideas and outlook of values of the public, moreover, changed public manners and life styles. C-Pop was rooted in relations between man and music and between music and society by using music aesthetical standpoint and method. Analysis on details of C-Pop aesthetical characteristics and aesthetic significance are also carried out with distinct view which provides C-Pop research with more ways of thinking and larger space in order to change the situation of C-Pop research lacks far behind its practice.

[이달의 샘터 작가상] 내 동생을 소개합니다!

방수경 샘터사 2018 월간 샘터 Vol.579 No.-

20세기 재즈와 인상주의 음악의 융합 - 웨인 쇼터(Wayne Shorter)의 “Vonetta” 분석을 중심으로 -

방수경,류은주 한국문화융합학회 2019 문화와 융합 Vol.41 No.6

Jazz leaped onto the mainstream music scene in the late 19th century, when Western classical music was on the decline. Impressionist music had just been born in France, following the trend influenced by Impressionist paintings to express a momentary atmosphere, and it continued into the mid-20th century. As one of the representative composers of Impressionist music, Achille-Claude Debussy employed musical techniques, for example, increasing the likelihood of bitonality while using the seventh, ninth, and eleventh notes frequently in a triad chord to focus on the tone more than the harmonic functionality of each chord. Such harmonies create a mysterious atmosphere by obscuring the tonality and ensuring that harmonies are not clearly exposed. Jazz, which began in America in the early 20th century, developed in different ways, blending various elements of musical genres such as traditional European music, African-American music, and Latin music. In the process of integrating these other genres, jazz began to develop its own unique characteristics of melody, harmonic progression, and so on. Wayne Shorter, an American jazz saxophonist and composer, who began his career in the mid-20th century, developed his own modern harmonic sense by extending the function of harmony on the basis of traditional harmonic structure and using mixed modalities to broaden the harmony’s color. This study reveals, through analysis of the melody and harmony of the song, “Vonetta,” published in 1967 by Shorter, the unique ways in which the artist blended the two different genres of Impressionist music and jazz. This study is expected to serve as a model for musicians to help avoid musical uniformity and promote the birth and development of various new types of music.

재즈 영향력에 의한 C-Pop 문화의 변천과 이행

방수경,이우창 글로벌 문화콘텐츠학회 2017 글로벌문화콘텐츠 Vol.0 No.28

Jazz started in New Orleans, Louisiana, in the Southern United States by African Americans who came from Europe. Since its inception, Jazz had become a typical American art and gradually exercised a huge influence on Asian music. After 1920s in China, music fields became subdivided along with the country’s political changes, and many attempts to fuse various music genres were made. Jazz influenced Chinese musicians who adhered to the established popular music at the time, thereby eliciting a natural, musical fusion of the popular music and Jazz. Until today, the unique melody and harmony of Jazz continue to influence Chinese popular music, and C-Pop attempts to embrace other musical genres in various ways. C-Pop refers to popular music that is popular in mainland China, Hong Kong and Taiwan. C-Pop has developed by applying or combining western music or Jazz composition techniques on the basis of the musical elements in mainland China. Even though Jazz played an important role in the creation and development of C-Pop, reviews or research on the Jazz’s influence on the change and transition of C-Pop have not been made comprehensively. This is the case even for publications relevant to C-Pop composition primarily discussing styles and elements of Jazz in them. This study categorizes the change and transition of C-Pop into four time periods and analyzes the Jazz’s influence and C-Pop music’s strength to grow on its own. Based on this analysis, the study aims to examine the significance of the times of the organic combination of Jazz and C-Pop, C-Pop’s challenges in the present and its potential in the future. 재즈는 유럽에서 건너 온 아프리카계 흑인들을 중심으로 미국 남부 루이지애나 주의 뉴올리언스에서 시작되었다. 시작과 동시에 재즈는 미국의 전형적인 예술 장르가 되었고, 이후 점차 아시아 음악에도 큰 영향력을 행사하였다. 1920년대 이후, 중국은 정치적 변화와 더불어 음악 분야가 세분화되었고, 다양한 음악적 결합이 시도되었다. 재즈는 이 시기에 기성의 대중음악 스타일을 고수하던 중국의 음악가들에게 큰 영향을 주었고, 이로써 대중음악과 재즈의 자연스러운 음악적 결합을 이끌어 낼 수 있었다. 물론 현재까지도 재즈 특유의 멜로디와 화성은 중국의 대중음악에 지속적인 영향을 주고 있고, 이를 계기로 더욱 다양한 음악 장르까지 수용한 C-Pop의 여러 시도가 활발히 진행되고 있다. C-Pop은 중국 대륙과 홍콩, 타이완 등에서 대중적 인기를 얻고 있는 유행 음악을 통칭한다. C-Pop은 중국 본토의 음악 요소에 서양음악과 재즈의 작곡 기법을 응용 내지 결합하여 발전하였다. 그런데 재즈가 C-Pop의 창작과 발전에 중요한 역할을 해왔음에도 불구하고, 재즈 영향력에 의한 C-Pop 문화의 변천과 이행에 대한 비평 및 연구는 미비한 실정이다. C-Pop 작곡 관련 서적에는 재즈 스타일과 재즈 요소를 비중 있게 취급하고 있음에도 그러하다. 이 논문에서는 C-Pop 문화의 변천과 이행을 네 시기별로 의미 있는 분류를 하면서 재즈의 영향력과 C-Pop의 자생력에 관하여 중점적으로 분석하였다. 이를 토대로 재즈와 C-Pop의 유기적 결합의 시대적 의의와 현실적 과제, 발전 가능성 등을 살펴보는 것이 이 논문의 연구 목적이다.