음악적 표현어법에 대한 연구

서인정 ( In Jung Suh ) 한국미학예술학회 2012 美學·藝術學硏究 Vol.35 No.-

음악적 표현어법의 완성은 기악음악이 차원 높은 발달을 이루는 고전주의시대에 가능했으며, 뒤이어 낭만주의시대에는 비개념적, 비재현적 음악이 오히려 평범한 언어적 의미세계를 초월하는 절대성과 무한성의 표현예술이 될 수 있다는 획기적인 사고의 전환을 통해서 최고의 표현언어로 인정받았다. 음악적 표현어법은 언어와 같은 단성적 표현방식과는 다른 구조적, 종합적사고에 의한다. 자연배음에서 산출되는 협화음정 중심의 구성법적 관계를 형성해온 음악적 표현어법은 음과 음의 관계가 역동적 관계를 맺으며 조성적 기능화성체계로 구조화됨으로써 생리적, 심리적 긴장과 이완의 구조와 밀착되는 형식화를 통해 형식과 표현의 일치를 이루는 내적 형식을 실현시킬 수 있었다. 이러한 내적 형식은 지각활동을 통해서 연속적 통일체의 시간성의 형식을 구성하며 의미로서 파악된 것이다. 본론의 제 1장에서는 음악적 자극이 생리적, 심리적 긴장과 이완의 흐름에 밀착되는 표현형태를 구성하게 되는 동조화 현상과 같은 음악의 특성을 설명했고, 제 2장에서는 언어적 수사법의 표현원리를 따르는 선율 중심의 사고를 성악의 발달과정을 통해서 고찰했으며, 마지막 장에서는 화성을 본질로 하는 구조적, 종합적인 순수음악적 사고에 의해서 목적지향적, 유기적 통일성의 구조를 구성하며 음악 고유의 표현어법 및 형식이 발달해온 역사적 과정, 그리고 자연배음의 협화성을 부정하는 주지주의적 사고 및 테크놀로지의 발달에 의해 내적 형식의 구성을 토대로 한 표현성을 이룰 수 없게 됨으로써 구조개념, 음악적 언어개념 자체가 부정되면서 무형식적 음악, 우연성 음악, 음향 공간화, 생활세계 음악, 전자음악, 컴퓨터 음악 등 20세기 아방가르드적 의식 및 포스트모더니즘에 이르게 되는 현대음악 경향들에 대해서 논의했다. In comparison with other arts, the independence of miusic as an expressive language was achieved quite late, because the objected concept-free nature of music made difficult to develop its own language of expression. Until the 16th century, the history of music had been the history of vocal music. The meaning of music was carried by text. Without word, music was considered to be incomplete. Thanks to the completion of tonal language just before 1700, music developed its own expressive language and obtained the aesthetic autonomy. Music is distinguished by its organization. Sound becomes tone when organized in a musical way. The tonal relationships are dynamic. Tones are heard not as a static entity but as a progressing event. Tones are only physical phenomena in the external world, but through the act of hearing they are comprehended as a unity with dynamic relations. Through the act of perceptual organization, successions of tones are comprehended in a musical context. The audial experience of music is directly connected to the phenomenal area of the act of conciousness. Husserl states that phenomenology seeks to present the essence of things in the same immediate manner as one hears a musical sound. He modelled his conception of phenomenological time on the protensive character of a musical melody, extending in sequence from past through present into the future, and leaving a retensive trail in memory. The organization of tonal systems has been developed in relation with the act of perception. Man`s conceptual tendencies close to nature, chose a tonal series according to the law of natural harmonics. The tonal language has been thought to be organized from natural harmonics. Tones in obedience to the law of tonality are systematized by dynamic qualities. The law of tonality is of a purely dynamic nature and determines the dynamic meaning of the tonal world. Pure instrumental music is not determined by any ideas, contents, or purposes that are not musical. The idea of absolute music corresponds with the conception of pure instrumental music. With such idea of absolute music the meaning of a musical work has been thought to be fixed and immanent in the inner form. For the past 200 years, the idea of absolute music has been prevailed and the structural meaning without any context to external meaning has been considered as the only valuable meaning of music. In the beginning of the 20th century, A. Schonberg destroyed the hierarchical system of tonality by treating all 12 tones in an octave as being equal. He replaced the dynamic tonal system with the mathmatically rationalized 12 tone system. According to Th. W. Adorno, the 12 tone system is an inevitable outcome of the historical pressure within the material and is related to current expressive needs. The changes which have taken place in music since World War Ⅱ, have been unusually radical. In the first place, the introduction of purely electronic sound synthesis have opened new areas to the composer. Secondly, the technique of serialism applied to rhythm, loudness, timbre and other paremeters. The total serialism has continued to have a determining influence on musical composition. Thirdly, John Cage introduced the use of chance. Chance operations resulted in the dissolution of the traditional musical form for the past 200 years. And there have been other revolutions of narrower scope. All these revolutions have caused the extraordinary diversity of music since 1960s. The term postmodernism has been applied to the music. Postmodernism has evolved through critiques of modernism, which refers to the conceptual order inaugurated by the Enlightenment. The pursuit of totality is basic to modernist thought. In contrast to it, postmodern attitudes defamiliarize and deconsturct the oppositions of the intrinsic and extrinsic, or the musical and the extramusical or subjective musical response and objective musical knowledge. Postmodernist claims that the true human subject is fragmentary, incoherent. A turn to postmodernism had a great effect on the ways we think about music, and made it necessary to rethink music from every possible perspective.

아도르노의 모더니즘 음악론: 예술적 인식의 관점에서

서인정 ( In Jung Suh ) 한국미학예술학회 2007 美學·藝術學硏究 Vol.26 No.-

Th. W. Adorno(1903-1969) regarded A. Schonberg`s atonal music and 12 tone music as being corresponded with the structure of advanced capitalist societies. According to him, the rationalization of music coincides with the process of Enlightenment. Under the rationalism of Enlightenment for the past 200 years, the idea of absolute music has been prevailed and the structural meaning without any context to external meaning has been considered as the only valuable meaning of music. With such idea of absolute music the meaning of a musical work has been thought to be fixed and immanent in the inner form. The idea of absolute music corresponds with the conception of pure instrumental music. The development of pure instrumental music in the second half of the 18th century, made music possible to develope its own expressive language. In comparison with other arts, the independence of music as an expressive language was achieved quite late, because the objected concept-free nature of music made difficult to develop its own language of expression. The completion of tonal language came just before 1800. It obtains the aesthetic autonomy. It is not determined by any ideas, contents, or purposes that are not musical. The tonal language has been thought to be organized from natural overtone series. But Max Weber interpreted the tonal language as rationalized language. With the process of the rationalism of Enlightment, the structure of the tonal language has been developed from the rationalized system of well-temperement and functional harmony. However, Schonberg destroyed the hierarchical system of tonality by treating all 12 tones in an octave as being equal. He replaced the dynamic tonal system with the mathematically rationalized 12 tone system. According to Adorno, autonomous music, by virtue of its autonomy, has a special social significance. The autonomy of music has been relative to bourgeois society as a whole by mimesis. Mimesis is the most fundamental moment in Adorno`s aesthetic theory. The tradition of the philosophical aesthetics, mimesis has been used in the sense of imitation. Not following the traditional usage, however, Adorno interprets mimesis in relation with the prehistoric magic. As the human behavior in the prehistoric age, mimetic behavior does not imitate something but assimilates itself to that something. Such mimetic behavior was expelled by rationality in the process of the Enlightenment. In opposition to mimesis, rationality dominates the object by identity principle. For Adorno, mimesis is an alternative to dominative rationality. But mimesis is not to be understood as the simple opposite of rationality. In art, mimesis and rarionality are dialectically related each other. The dialectic relationship of mimesis and rationality is revealed in the relation of expression and construction in the work of art. To use Adorno`s language, the nature of an art work oriented to a particular public rather than as mediating universal truth. In other words, he considered a piece of music not as a self-contained entity but as inherently historical and sociological. However, a musical work should be autonomous to have a social significance. Autonomy in music remains crucial to preserve the critical potential within advanced capitalist society. In this way Adorno develops a very sophisticated, but persuasive theory on the social mediation of music.

바그너의 음악극론

서인정(In Jung Suh) 민족음악학회 2002 음악과 민족 Vol.24 No.-

Romantics believed that the life had inner relationships with the world and thus could not be fully comprehensible through analysis and pure logic. They attempted to create the idealized form of synthesis between life and art, and found it in the expressive form of art. According to Romantics, everything stemmed from the innermost side of being, `soul` or `feeling`. Schopenhauer considered music as the expression of the `soul`, and only music, among the arts, as the art directly connected with feeling. Influenced by him, Richard Wagner established the theory of musicdrama. Wagner maintained that the essence of the world and life could be grasped only by music, though he admitted that language could be supplementary for specific descriptions of various phenomena. By exploring into myths, Wagner gained deeper insight into human behaviour. He thought that ancient mythology showed an archtype of real life. Through a new interpretation of mythology, he intended to describe and to criticize the industrialized civilization of the contemporary world. By emphasizing the intimate union of music and drama, Wagner differntiated the musicdrama from Italian opera. According to him, Italian opera put an importance only on the phenomenal side of music. Therefore, the essence of opera, the union of drama and music, had been neglected in Italian opera. The structure of musicdrama is closely related with the structure of mythology and drama. The structure of mythology is characterized by the unity of various components with the relationship of the innermost `soul`, and the organization of drama centered on a leading event, to which other events were closely related. Modelled after mythology and drama, Wagner devised a leading programmatic motive, called `leitmotif` and a new type of melody emanating form the `soul`. Mythology, drama and musicdrama are similar because they are all organized around a central idea. In this way, Wagner embodied the most idealized form of Romantic synthesis in his musicdrama.

국제비교를 통한 우리나라 음악과 교육과정의 특성 분석 - 독일 , 미국 , 영국 , 일본 , 프랑스를 중심으로 -

김원명(Won Myoung Kim),민경찬(Kyung Chan Min),양종모(Jong Mo Yang),이내선(Nae Sun Lee),장기범(Ki Beom Jang),주대창(Dae Chang Ju),최은식(Eun Shik Choi),서인정(In Jung Suh) 민족음악학회 2002 음악과 민족 Vol.24 No.-

The main purpose of this research is to get some implications for improvement of school music curriculum of Korea through the analysis of music curriculum in several developed countries. The researchers surveyed the music curriculum of the 5 developed countries, U.S.A., G.B., Japan, Germany and France, which already finished curriculum revision in recent years. The researchers have agreed upon analysing curriculum of each contry with the following four factors -- 1) outline of school education system, 2) time allotment and operation of music class, 3) frames and basic structure of music education curriculum including mission statements and contents of music education, and 4) draw conclusions based on the analysis. The drawn implications are as follow: First, each countries recognized importance of music education and emphasize music class in school education. Second, there are many different points between the curriculum and operation of music class of USA and Europe. In Europe, students should study music class certainly, but in USA, students can choose music class widely. Third, every countries state very persuasively about necessity and what should be of music education. However korean curriculum statements, in comparison of these countries, are very difficult and vague for teacher and students to understand it. Fourth, each countries aim at learning of musical concepts or musicological understanding instead of learning of musical technique. We now get to some suggestions of this research for korean school music education. First, korean music curriculum should be improved adequately. Second, we raise relative importance of music class in school education. Third, we should differentiate the aims of music education for each stages. Finally, there should be more international comparative researches on music curriculum for improvement of our music education.

음악적 언어에 대한 해석학적 연구

서인정 ( In Jung Suh ) 민족음악학회 2006 음악과 민족 Vol.32 No.-

20세기 음악의 역사적 변증법 연구: 아도르노의 사회학적 미학에 근거해서

서인정 ( In Jung Suh ) 한국미학예술학회 2010 美學·藝術學硏究 Vol.31 No.-

고전 소나타 알레그로 형식에 대한 현상학적 고찰

서인정 (In Jung Suh) 민족음악학회 1993 음악과 민족 Vol.5 No.-

N/A

심포지엄: 현대 음악의 미학적 과제 : 20세기 모더니즘에서 포스트모더니즘 음악까지

서인정 ( In Jung Suh ) 한국미학예술학회 2009 美學·藝術學硏究 Vol.29 No.-

한국미학예술학회 20주년 기념 심포지엄: 미학,예술학과 지금 여기 : 20세기 현실과 미학,예술학 ; 20세기 후반 음악의 연속성과 불연속성: 포스트모덕적 다양성

서인정 ( In Jung Suh ) 한국미학예술학회 2009 美學·藝術學硏究 Vol.30 No.-

아우구스티누스의 음악관

서인정 민족음악학회 2004 음악과 민족 Vol.28 No.-

In the early Middle Ages, Augustinus laid the foundation of the Christian theology under the influence of the ancient Greek philosophy. His theory of beauty also resulted from the ancient Greek mathematical theory of beauty with the preconception of the belief in `creator ex nihilo'. In Platonic tradition, numbers are the first principle and essence of all sensible things. The proportions of sensible objects are due to numbers. These numbers participate in higher numbers all of which come from the number `One'. In following the ancient Greek tradition of mathematical music theory, Augustinus regarded `equality' as the most important element in beauty of music. The equal proportions please us at the most. In the belief of creation ex nihilo, he thought that equal proportions in sensible objects are ontologically connected to God. On the basis of this connection they can be tracked back to God so that the soul can contemplate the beauty of God himself. Augustinus maintains that the equality is derived from God, and beauty in music is a footprint of God. In the sixth book of De Musica, he tracks the footprints of beauty back to God. According to the doctrine of creation ex nihilo, there is no being independent of God. All beings are derived from God. For Augustinus, this derivation implies diminution. That is why sensible numbers are inferior to those intelligible. Sensible equality is inferior to intelligible equality on two accounts: it admits plurality and it is subject to change. Despite the inferiority, there is still enough equality then for us to recognize it to some extent even through sense perception. By way of the similarity between sensible and intelligible equality, Augustinus intends to move the reader from the lower equality to the higher. In that way, he wants to bring the reader to the contemplation of God. The various parts of creation more or less depend upon whether they are closer to or farther away from God. The universe is a ladder of being with God at the top, the soul in the middle, and the body at the bottom. Augustinus's ontology in the starting point both for his theory of music and his understanding of the fall and return of the soul. The same ontology is followed in the six book of De Musica. According to Augustinus, the soul tries to return to the world of God which is the source of his being. To explain the fall and return of the soul he divided the dynamic movement of the soul towards God into six courses. In De Musica, he distinguish the soul's movement to God into six different levels. If the soul moves to outside world and enjoys sensuality, it falls into sin. Augustinus tried to approach psychologically to the intention of the soul. De Musica consists of six books. In books One through Five, he describes the numbers which are present in rhythm, meter, and verse. In the sixth book of De Musica,, he tracks the numbers to the ontological ladder to show that the first principle and source of these numbers is God.