한국음악 20세기(20): 작곡가들의 음악어법(2) : "정다움"을 형성하는 선율과 조성의 관계를 넘어 새로운 화성이론으로

신인선 ( In Shun Shin ) 민족음악학회 2016 음악과 민족 Vol.51 No.-

The purpose of this paper is to follow the process of western theory of harmony theory based on tonality becoming a ‘new korean harmony theory’ in Korean composers creative works, transgressing a mere acceptance. In order to do that it is necessary to investigate the course of reception and development of western music in Korea. The reason why the early korean art songs based on tonality were able to approach korean audience ‘friendly’ and ‘intimately’ was found in comparisons among four-part choral arrangements of monophonic folk song(Refrain from Nong-bu ga). Through the analyses of various arrangements of folk song, it is found that the development of western music in Korea may confirm the possibility of ‘naturalization’ of western music theory through a mixture of pentatonic scale which is the foundation of korean folk music, far beyond a simple reception. The formation of korean harmony was materialized by La, Unyung(1922-1994) in his theory of ‘melody-centric harmony stacking’. This paper discusses the basic aspects of this new korean harmony theory which is based on the theory of harmony by Paul Hindemith(1895-1963), and illustrates instances applied to his works. Furthermore, ‘modified twelve-tone technique’ with elements of korean music by Yun, Isang(1917-1995) is a representative example of ‘naturalization’ of western music transgressing a mere acceptance.

죄르지 리게티(György Ligeti)에서의 인용기법 -「Selbatportrait」를 중심으로 보는 자신의 음악에 대한 인용-

신인선 ( In-shun Shin ) 한국서양음악이론학회(연세대학교 음악연구소) 2001 음악이론포럼 Vol.8 No.-

The 2nd piece, 「Selbstportrait」 mit Reich und Riley of Drei Stücke für zwei Klaviere composed in 1976 is a typical example of minimal music among György Ligeti's works. In this opus, a musical citation(Zitat) is an important thing. It is not directly performed, i.e., it is an indirect citation about musical features and phenomena of minimal music, not a direct one about a certain composer’s piece. However, we can find out obviously that Ligeti’s ideas and musical phenomena which was accepted as a new element of his creation in 1970’s already occupied an important position in his works before 1970's through a lot of his pieces of 1960;s and 『Musica ricercata』 (1951-1953) composed in his time in Hungary. The similarities among his pieces composed before he came to know minimal music can be explained by the identity of his unconscious musical tendency which is ‘floated in the air like his own expression. As we can see in the title, 「Selbstportrait」mit Reich und Riley, the way of citation in this piece is one that a citation of musical expression inherent in his own works is colored by something as that about phenomena of minimal music. The citation of this kind about ideas of minimal music was more emphasized by accommodation of various sorts of traditional music in this piece. 「Selbstportrait」 mit Reich und Riley received musical traditions such as cluster technique, blocked keyboard, imitation technique and inherence of F. Chopin’s music. Such a musical accommodation make us unable to perceive citation and accommodation in its acoustic result due to citation of harmonics in the pieces of Henry Cowell and Pierre Boulez, techniques for organ by Karl-Erik Welin or blocked keyboard of Henning Siedentopf. The citation of blocked keyboard emphasized no more than that of minimal music by which he was influenced when he composed it. Therefore, we can regard the citation of minimal music in 「Selbstportrait」 as new musical phenomenon firmly expressed by the collage of Ligeti's mode, which is equal to minimal music, and other various musical mode of expression. In other words, various musical expressions collaged in 「Selbstportrait」embodied the citation of minimal music as a unified phenomenon of constitution of the whole work, and the citation of minimal music in this piece came to have its own adequacy. The citation in Ligeti’s works, especially that of his own pieces, is different from Zitat music or the mode of citation which aims at pursuing diversity as an important musical phenomenon coincided with Postmodernism in 1970's. One of the differences between them is that in Ligeti’s works, the object of the citation is not a definite part of existing music but a entirely musical phenomenon. Another is that various musical expressions collaged are harmonized in the unity of the works.

리게티 오페라 《위대한 죽음》에서의 ‘전통’과 ‘실험’의 ‘혼합성’ 연구

신인선 ( Shin In Shun ) 이화여자대학교 음악연구소 2021 이화음악논집 Vol.25 No.1

리게티(György Ligeti, 1923-2006)의 오페라 《위대한 죽음》(Le Grand Macabre, 1974-77)은 1970년대 ‘반-오페라’(Anti-Oper)인 실험적 무대 음악 창작과 거리를 분명하게 두는 의도로 작곡되었고, 작곡가는 이를 ‘반-반-오페라’(Anti-anti-Oper)로 표명했다. 이는 당시 실험적 무대음악 창작과 다른 경향을 보였던 ‘문학오페라’(Literatur-Oper)와 같은 선상에 두고 이 오페라를 이해할 수 있게 한다. 그러나 《위대한 죽음》은 ‘대본보다 음악을 중심에’ 두었다는 점에서 ‘문학오페라’와도 거리를 두고 있다. 본 논문에서는 《위대한 죽음》에 내재된 ‘전통’의 수용과 ‘실험성’ 그리고 그들의 혼합으로 얻어진 음악적 결과가 창작 당시 무대음악 창작 경향과의 차별화이자 작곡가가 의도한 ‘전통 오페라로의 회귀’를 의미함을 확인한다. 본 연구에서는 작품 분석 범위 설정을 위해 오페라 《위대한 죽음》 대본을 원작 겔데로데(Michel de Ghelderode, 1898-1962)의 ‘언어극’(Sprechtheater)인 『위대한 죽음의 발라드』(La Ballade du Grand Macaber, 1934)와 비교한다. 비교 분석 후, 텍스트의 의미론적인 요소를 배제한 음성에 대한 실험성(2막 3장의 두 장관의 말싸움 장면, 게포포의 아리아, 죽음의 사자를 술에 취하게 하는 장면) 그리고 공간에 대한 실험성(1막 2장의 비너스 등장과 함께하는 무대 뒤 여성합창과 2막 3장의 청중석에 배치된 혼성합창, 2막 3장에서의 연주장 출입구부터 청중석을 가로질러 연주하며 등장하는 죽음의 악사 등장 장면)이 전면에 나타나는 부분들을 중심에 두고 작품분석을 진행했다. 그 결과 《위대한 죽음》 속에 담겨 있는 언어적 그리고 공간적 실험성은 부조리 연극 또는 실험적 음악극과는 차별화되어 극적 줄거리와 상황을 표현하기 위한 하나의 요소로서 전통적 음악어법들과 혼합된다. 이 오페라에서의 전통과 실험의 혼합은 작곡가의 창작 의도 ‘다시 오페라로’ 또는 ‘반-반-오페라로’에 대한 이해를 ‘음악과 극의 균형과 조화를 주어 극적 흥미를 높인’ 모차르트와 비교하게 한다. The opera Le Grand Macabre by Görgy Ligeti (1923-2006) was composed with the intention of clearly distancing itself from experimental stage music creation of ‘Anti-Oper’ and the composer declared it as ‘Anti-anti-Oper.’ This allows Le Grand Macabre to be understood on the same line as the ‘Literatur-Oper,’ which was different from the experimental stage music creation at the time. However, the fact that Le Grand Macabre puts ‘music at the center rather than the script,’ keeps distance from ‘Literatur-Oper.’ This paper confirms that the embracement of ‘tradition’ and ‘experimentation’ inherent in Le Grand Macabre and musical result from the mixture of these differentiates this work from the music creation trend at that time, and cleary shows a intention of the composer who wants to ‘return to the traditional opera.’ To set the scope of the analysis of the work, the script of Le Grand Macabre is compared with the original La Ballade du Grand Macaber, 1934, a ‘Sprechtheater’ by Michael de Ghelderode (1898-1962). After a comparative analysis of the script, a study of experimentation on speech excluding semantic elements of text (Act 2 Scene 3, Gepopo’s Aria, a battle of curse between the two ministers, a scene that makes the Grim Reaper drunk) and experimentation on space (Act 1 Scene 2, Backstage women’s chorus with Venus and Act 2 Scene 3, mixed chorus placed in the audience seats, the scene of the Musician of Death playing from the entrance to the concert hall across the audience) are conducted with the parts that appeared in the front. As a result, the linguistic and spatial experimental features contained in the opera Le Grand Macabre are different from theater of the absurd or experimental stage music, and the features are blended with traditional musical methods for expressing dramatic plots and situations. The understanding of Ligeti’s creative intention for ‘again opera’ or ‘Antianti- Oper’ through blend of traditions and experiments in Le Grand Macabre is comparable to Mozart, who intensified dramatic interest by balancing and harmonizing music and drama.

특집 : 한국음악 20세기(7) ; 한국음악 20세기: 작곡가들의 음악어법(1) -"정다움"을 형성하는 선율과 조성의 관계-

신인선 ( In Shun Shin ) 민족음악학회 2007 음악과 민족 Vol.33 No.-

이상근의 ≪임에게 헌정하는 노래≫(op. 12)에 담긴 시와 음악의 관계-제2곡 < 가는 길 >을 중심으로-

신인선 ( In Shun Shin ) 이상근기념사업회 2016 이상근 연구 Vol.2 No.-

Various researches on Sang-geun Lee (1922-2000)`s songs praise not only his achievements as a composer, but also his literary accomplishments. This study focuses on how discretely Sang-geun Lee`s literary attainment was displayed in Songs Devoted to the Lover (1942, 1948), which Lee composed five songs based on the text of Sowol Kim (1902-1934) and Anseo Kim (1896-unknown)`s poetry. Even though the composer published his songs as ``Song of collection``, his reason for selecting poems of the two poets, and for including "Willow Spring", composed in 1942, as the fourth song of the collection was ``to weave together group of related poems into a story``. In other words, the ``story line`` suggested by the poems in the collection can be interpreted as the ``song cycles`` of this collection. The musical contents of this collection of songs also show that it can be categorized as the ``song cycles``. Every songs in the collection uses the pentatonic scale`s major second + minor third combination that the fourth song "Willow Spring" as their theme, as well as forming relationships among the composition. By grouping the fourth song, that displays bitonality of a minor-scale and e minor-scale, with other songs, three each, The combination of D-E-g (1st-3rd song), E-g-a (2nd-4th song), g-a-f (3rd-5th song) can be found. This explains the various changes in major synchronous (mixtures such as retrogression, retrogressive motive, etc.) in the Willow Spring`s 2nd major and 3rd minor`s, and the relationship among the composition of each songs that form this collection. The study on the close relationship between songs and poems in the perspective of Sang-geun Lee`s composition of songs analyzed the second song of the collection Songs Devoted to the Lover, "On the Way to Go" in depth. Sang-geun Lee understood the poet Sowol Kim`s intention in the free verse of the poem "On the Way to Go", that is typically interpreted as 7·5 rhymed verses, and musically contained the ``breath of the poet`` contained in the poem. By comparing and contrasting the song "On the Way to Go", included in Songs Devoted to the Lover, with other composers` songs with the same title, this study fully presents that Sang-geun Lee applied the unity between the lyric`s intonation and melody based on the study of Korean lyrics, musical expression in the poems, the proper selection of the song type according to the form of the poems, and the melody in accordance to the accent and the intonation in the poems in his composition of songs better than any other composers.

구레츠키(H. M. Gorecki) 아 카펠라(a cappella) 작품 분석 연구: 새로운 단순성(Neue Einfachheit)과 미니멀리즘(Minimalism)음악어법의 비교 관점으로

신인선 ( Shin In-shun ) 연세대학교 음악연구소 2017 음악이론포럼 Vol.24 No.1

본 논문은 구레츠키(Henlyk Mikołaj Gorecki, 1933-2010)라는 한 작곡가의 작품을 설명하는데 있어서 `민족적-종교적 영향`, 독일을 중심으로 한 `새로운 단순성`(Neue Einfachheit) 또는 미국에서 시작된 `미니멀음악`(minimal music)과 같이 상이한 개념이 혼용되어 사용되는 그 이유를 작품 분석을 통해 확인한다. 구레츠키 창작경향의 변화에 근거하여 분석대상 작품의 시간적 범위와 장르 범위는 그의 1972년 이후 아 카펠라(a cappella) 합창음악으로 한다. 60년대 말 관현악 작품 창작에서 드러나기 시작한 `명료함`과 `단순함`으로 대변되는 그의 독자적인 창작세계의 어떤 내용들이 새로운 단순성 또는 미니멀음악으로 규정될 수 있는지를 다음과 같은 연구 방법으로 접근한다. 아 카펠라 합창음악 분석에 들어가기 전에 그의 창작경향 변화를 간단하게 언급하여 본 연구의 분석대상 작품 선정의 타당성뿐 아니라, 1976년 작곡된 《교향곡 3번》에 교회음악 그리고 민속노래를 인용하면서 작곡가가 확고히 한 그의 독자적인 음악어법을 확인한다. 작품 연구는 라틴어 텍스트로 작곡된 《그들은 떠났고 울었다》(Euntenes ibant et flebantop.32, 1972)와 폴란드 민속음악에서 가사와 선율에 기초하여 작곡된 《넓은 강》(Zeroka Wodaop.39, 1979) 분석을 중심에 둔다. 이 두 작품 분석에서 공통으로 드러나는 음악적 특징들을 라틴어를 텍스트로 한 《아멘》(Amen op.35, 1975), 《불쌍히 여기소서》(Miserere op.44, 1981), 《나는 당신의 소유》(Totus Tuus op.60, 1987), 그리고 폴란드 민속음악에 기초한 《나의 비스와 강, 잿빛, 비스와 강》(My Vistula, grey Vistula op.46, 1981), 《세 개의 자장가》(Three Lullabies op.49, 1984, rev. 1991)에 적용하여 구레츠키 고유 음악어법을 확인한다. 결론을 대신하여 본 논문의 마지막 부분에서는 작품 분석을 바탕으로 구레츠키의 독자적인 음악어법이 새로운 단순성 또는 미니멀음악 작곡기법 그리고 음악적 사고와 어떤 점이 유사하고 어떤 점이 상이한지를 정리한다. 나아가 미니멀음악 작곡가도 아니고 새로운 단순성을 대변하는 작곡가도 아닌 구레츠키의 음악적 특성을 그가 활동한 공간적·시간적 환경과 연결하여 `새로운` 민족주의 음악으로 볼 수 있음을 제시한다. The explanations of works by Henlyk Mikołaj Gorecki, a composer from Poland, generally employ a mixture of various concepts such as `ethnic-religious influence`, `Neue Einfachheit` from Germany and `minimal music` originated in the United States. Through analyses of his works, this paper accounts for the reason why. Because Gorecki went through changes in his writing tendency, the range of time period and genre for this study is limited to a cappella choir music since 1972. Due to his orchestral works of late 60s, `perspicuity` and `simplicity` became representative of Gorecki`s inherent characteristics. Through the following approaches, this paper defines what elements could be identified as `Neue Einfachheit` or `minimal music`. Before going into analyses of a cappella choir works, the changes found in his writing tendency will be mentioned and this will confirm the validity for the selection of works to be studied in this paper. His innate musical language, established in Symphony No.3 (1976) by employing church music and folk songs, is confirmed. The research is centered on analyses of Euntenes ibant et flebant op.32 (1972), written in Latin, and Zeroka Woda op.39 (1979), based on the lyrics and melodies of Polish folk music. Common musical characteristics found in both pieces will be applied to the study of works using Latin text such as Amen op.35 (1975), Miserere op.44 (1981) and Totus Tuus op.60 (1987), and others based on Polish folk music like My Vistuła, grey Vistuła op.46 (1981) and Three Lullabies op.49 (1984, rev. 1991) in order to confirm the unique musical language of Gorecki. Based on analyses of works, the last part of this paper which stands in for conclusion sums up how Gorecki`s peculiar musical language differs from or analogous with Neue Einfachheit, minimalism technique, and musical thoughts of the time. Furthermore, this paper suggests that the musical characteristic of Gorecki, who is neither a minimalist composer nor a representative composer of Neue Einfachheit, maybe viewed as that of `new` nationalistic music in connection with spatial and temporal environment where he was actively involving.

김소월 시 「접동새」를 수용한 음악 작품들에서 나타나는 시해석의 다양성 연구

신인선 ( In-shun Shin ) 연세대학교 음악연구소 2018 음악이론포럼 Vol.25 No.2

본 연구는 김소월의 「접동새」를 수용한 한국 창작음악을 분석하여 ‘한국어의 음악화 작업’ 나아가 ‘한국적 정서의 음악적 표현’ 방법을 찾아내는 것을 목적으로 한다. 시 「접동새」 에서의 분행의 의미, 3음보 구성, 그를 통해 얻어진 점층형식 그리고 연쇄식반복은 설화라는 소재를 세심하게 의도된 적합한 형식으로 담아내는 방법이었으며, 그를 통해 미적 가치가 상승했음을 확인했다. 시 세부분석의 결과인 ‘소리-뜻’ 분석, 즉 접동새의 울음소리를 모방한 ‘접동’을 이루는 [ㅈ] 파찰음과 [ㄷ] 파열음은 폐쇄된 발음기관을 갑자기 개방해서 내는 소리이기에 탄식과 억압된 정서의 분출을 담고 있다. 이는 전체 시 구성에서의 시상을 재 확인시켜 주었다. 이외에도 시 「접동새」에서 드러나는 혼철표기, 조사 ‘-에’의 사용, 이중모음 사용, 「접동새」에서 단 한번 등장하는 구두점 ‘쉼표’를 통한 언어적 리듬도 전체 형식에서 보여준 시상을 강조하기 위한 것임을 확인할 수 있었다. 이러한 내용은 시에 담긴 시상과 의미가 운율적 구조 그리고 전체 형식 등과 서로 상호적으로 잘 조화되었음을 확인시켜 준다. 시 분석에서 유추한 전체 구성의 점층형식과 연쇄식반복이 작곡가들의 작품에 어떻게 반영되었는지를 살펴보았다. 김소월의 시 구성에서의 점층형식은 작곡가들의 통절형식 가곡으로 구현되었다(나운영, 정종열 등의 가곡). 예외적으로 조두남은 변형된 유절형식으로 「접동새」 가곡을 작곡하였지만, 3연과 4연을 시작하는 분행을 새로운 선율로 작곡하여 시의 점층형식뿐 아니라, 연쇄식반복도 창작에 반영하였다. ‘죽음’을 의미한다는 내용을 작곡가들의 작품에 적용한 결과 음악적으로도 이에 상응하는 표현이 있음을 확인했다. ‘접동’을 노래하는 음형은 ‘죽음’을 내용으로 하는 텍스트에도 사용되어 ‘소리-뜻’ 분석 방법을 음악 작품에도 적용할 수 있음을 확인했다. 나아가 가곡들에서는 창작년도와 상관없이 ‘접동’ 또는 ‘죽음’을 4도 하행의 ‘접동 음형’으로 하고 있는 공통점을 확인할 수 있었다. 이는 음악에서의 라이트모티브와 동일 선상에서 설명될 수 있는 것이다. 김소월의 시에 담긴 시상을 ‘소리-뜻’으로 연결하여 해석할 수 있었다면, 음악에서는 라이트모티브가 시상을 일관되게 표현하는 방법이었음을 확인시켜주었다. This study deals with analyses of Korean composers works that accomodate Sowol Kim’s poem Jeopttongsae (an oriental scops owl) in order to find out methods for ‘music making of Korean language’ and furthermore ‘musical expression of Korean emotion’. In this study, it is confirmed that the meaning of dividing lines, three-metre constitution, 'gradation form' through this, and 'chain repetitions' of the poem are intended for including ‘Tale’ subject into a suitable form, as well as an aesthetic value of the poem ascended due to these. Through a detailed prosodic analysis, it is observed that an affricate [ㅈ] and a plosive [ㅂ] in Jeopttong word produced by a sudden opening of a impatent vocal organ represent an eruption of suppressed emotion as Jeopttong imitates calling of the bird. Prosodic analysis reconfirms the use of poetic ideas in the poem construction as a whole. The Honcheol notation used in the poem, use of proposition ‘at’ and diphthong, and the only appearance of punctuation comma, all of these yield to the linguistic rhythm, and this is to emphasize the poetic ideas in the entire form. This means that poetic ideas and significations in this poem correspond harmoniously to the rhyme construction and the form of it. This study investigated how a gradation form and chain repetitions inferred from the analysis are reflected in the works of composers. The gradation form of Sowol Kim’s poem Jeopttongsae is realized as through-composed form in art-songs of some composers(Un-Yung La, Jong-Yeoul Chong) whereas a modified-strophic form was used by Doo-Nam Jo in his song. But he reflected gradation form as well as chain repetitions into his song by setting new melodies to the divided lines of the third and fourth stanzas. Also confirmed is that ‘death’ is expressed musically as well in works by composers meaning the prosodic analysis is applicable to music. Furthermore, regardless of date of composition, ‘death’ and ‘Jeopttong’ figure appear as descending 4^th interval equally. This has a something to do with ‘Leitmotiv’ idea used in western music. We can interpretate poetic ideas of Sowol Kim’s poem by prosodic analysis and the same ideas are expressed as ‘Leitmotiv’ in music consistently.

죄르지 리게티 작품에서의 클러스터기법의 발전

신인선 서울대학교 서양음악연구소 1999 음악이론연구 Vol.4 No.-

The theme of this article, 'Development of Cluster technique in the Gyo¨rgy Ligeti's Works' has already aroused much interest in 1960s. Thus the article may look unnecessary if the cluster technique is presented as a temporary musical vocabulary used in Ligeti's works in 1960s. But it premises his creative trend, "a dual perspective for the tradition" represented in many of his interviews and articles, that is, a negation of the tradition through the newness, the requotation of the tradition which appears indirectly, and "going on ahead". In the relationship between the musical concept and idea about diverse progressive stages in Ligeti's aesthetic creation, the cluster technique has never a temporary musical phenomenon but the developmental shape, differently from many findings before, which will be proved in this article. After Gyo¨rgy Ligeti exiled from Hungary to the Western world(1956), he met the avant-garde movement at that time. He intended to realize his own artistic essence through meeting with the newness. His unique fantasy toward the sound enabled the expression to be realized through the study and critique about the tone-row technique. Ligeti expressed his acoustic fantasy by forming a cluster through the fine and well-knitted net of formation in his orchestral pieces around 1960s, which resulted from the dissection of melodic, harmonic, and rhythmic structures on the basis that the tone row system is not perceived, in short, the critique about Serial music. The cluster appeared as an element of the musical structure in Ligeti's earlier works. The cluster was used as a result of Ligeti's pursuit for newness in the Apparitions(1958/59), Atmosphe`res(l96l), his early works for the orchestral music, and an organ work Volumina(196l/62) by the graphic music notation, taking part in the whole composition of music with a structural possibility for a work. In particular, 'rhythm cluster', an extension of cluster concept which was not limited to a 'tone', was proved by an differentiated analytic course of Atmosphe`res. The cluster technique got on the right track as a still important musical expression in Ligeti's persistent orientation toward newness, while resisting to the repetition of his musical expression, in a release of the harmonic and rhythmic neutrality(in the the String Quartet No. 2), in a release of the melodic neutrality(in the Double Concerto for Flute and Oboe), and in a study and reception of Latin American and African music(Trio for Violin, Piano and Horn and Piano Etude). Furthermore, a new cluster concept such as 'differentiated tone cluster' and 'timbre cluster' was established through the analysis of the above works. The more concentrating on Ligeti's extensive works, the more obvious became the fact that Ligeti's musical concept was based upon the field of realizable thought. Therefore, it can be insisted that Ligeti's own composition style was developed through the process of his unique thought. The processes of the thought can not be individually bound up and instead can be exchanged each other. It can be investigated from the following three aspects: quotation of tradition, negation to the tradition, in other words, orientation toward newness, and finally requotation of composition style which he used. The following conclusions can be drawn from the analysis of the main text. In the first place, the cluster technique developed consistently throughout Ligeti's whole works, which stood face to face Ligeti's insistence that always newness should be always formed and should not repeat in fact. The development of cluster technique appears as a quotation of his composition method. Through these processes, the cluster technique achieves a special attraction and composition meaning. Secondly, the cluster technique does not only apply to the pitch alone but also connects to various musical parameters, which results in the appearance of revised clusters: rhythm cluster, voice cluster, differentiated tone cluster, and timbre cluster are defined with a new value. Especially the timbre cluster totally pulls itself out of the pitch matter and has a meaning in the relationship with timbre composition since it relies only on the timbre. Thirdly, when the element of 'new' poly-rhythm can be found in the non-European tradition, the 'newness' is very difficultly identified in Ligeti's musical change and development. Adoption and mixture of the musical elements does only change the previous beings for sure and doesn't lead to a pure 'new thing'. Looking for Ligeti's whole works, a problem arises in pursuing the 'newness'. Because the stage of 'new' development becomes included into the composition continuity again all the time, this kind of pursuit is contradictory. Ligeti remained in the interest in his acoustic cluster in meeting with the 'new thing' and in approaching to the new method.

김동진

신인선 민족음악학회 2003 음악과 민족 Vol.26 No.-

In Korea ist &m, Dong-Jin bis zur heutigen Zeit als Lied-Komponist bekannt. Wihend sich viele koreanische Komponisten seit den 1950er Jahren fast mit den damaligen mcdemistischen bzw. avantgardistischen musikalischen Stromen beschgtigten, wurde die auf der Tonalitat beruhende Musiksprache &ms als banal kntisiert. Ebenfalls konnten seine Transkriptionen und Stuhen der koreanischen Volkslieder, Pansori und Sin-chang-ak, mit denen sich Kim wdu-end seines ganzen Lebens beschaftigte, noch nicht richtig verstanden werden. Um die Musiksprache von &m neu zu beurteilen, ist es dnngend notwenhg, Analysen und Untersuchungen seiner Werke von Sin-chang-ak detailliert zu fihren. Seine zahlreichen Lieder sind in drei Arten, also koreanisch-volksliedartigen Liedern, Kunstliedern und popular-nationalen Liedern, einzuteilen. Koreanisch-volksliedartige Lieder sind mit den pentatonischen Tonleitern und der Struktur von Melden charakterisiert, die sich mit der aufwms fuhrenden reinen Quarte (der abwms fuhrenden Quinte) und mit groBer Sekunde zusammenfiigt. Angesichts der Rhythmen sind uberwiegende Verwendung von Dreiertakten und koreanischen Rhythmen charakteristisch. Auch findet man in diesen Liedern Triolen, Synkopen, kurze Vorschlage. Im Vergleich mit der ersten Art richten sich seine Kunstlieder nach der europgschen Musiksprache des 18. und 19. Jahrhunderts. Die lyrische Melde, die sich auf der Tonalitat beruht, ist fiir seine Kunstlieder charakteristisch. Die Melde spiegelt oft nicht die Versrhythmen und den Strophenbau des Textes, sondern die musikalischen Rhythmen. Dadurch versucht &m, Dong-Jin, die Ekziehung zwischen dem Text und der Musik enger zu gestalten und zu einem Hohepunkt zu gelangen. Und das Rezitativ, das sich mit dem italienischen Lied verbindet, ist ein wichtiges Element fur die Struktur seiner Kunstlieder. Die musikalische Struktur und die Beziehung zwischen dem Text und der Musik der dntten Art sind vie1 einfacher als die oben genannten beiden. Die meisten sind Strophenlied. Obwohl es zwischen diesen Arten muslkalische Unterschiede gibt, verkniipfen sich diese Lieder mit seinen musikalischen Gedanken, Nationalmusik zu bilden. Es erhebt sich die Frage, ob das neue koreanische Musikdrama Sin-chang-ak ein Versuch ist, die besondere Gesangstechnik von 'Pansori' in europiiische umzusetzen. Aber nach dieser Studie ist Sin-chang-ak eine kiinstlerische Neuschopfung mit der kompcsitorischen Technik, die den Charakter der koreanischen Sprache und der Melde treffend ausdrucken kann. Sin-chang-ak schlieBt aufgrund Pansori die folgenden kompcsitorischen Techniken in sich: die Mannigfaltigkeit von Rhythmen durch den Polyrhythmus und den Wechsel des Taktes, der Ausdruck der koreanischen melodischen Atmosphiire durch Tonart und Modulation, das omamentale Zeichen von dem fiir den Ausdruck in Pansori eine wichtige Rolle spielenden Si-Gim-Sai. Kim, Dong-Jin schopft mit Sin-chang-ak Pansori neu. Er nannte diese Musik als Musik vom koreanischen Geist. Der koreanische Geist nach ihm bedeutet eine Zusammensetzung zwischen der alten koreanischen Musiktradition und europaischen Musiksprache.

윤이상(尹伊桑) Ⅱ

신인선 민족음악학회 2005 음악과 민족 Vol.30 No.-