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안은지 ( Ahn Eun Gee ) 민족음악학회 2021 음악과 민족 Vol.- No.62
아일랜드의 전통음악은 전통 속에 갇혀 있지 않고, 현재의 삶과 함께하는 살아 숨 쉬는 음악으로 향유되고 있다. 아일랜드 전통음악의 현재화는 수많은 아일랜드 튠 및 민요의 수집과 출판으로 인한 전통음악 선율의 축적으로부터 시작된다. 전통음악의 현재화는 곧 전통음악의 문화화(enculturation)와 관련된다. 아일랜드 전통음악의 문화화는 가족, 지역사회 및 기관 등에서 제공하는 다양한 학습 경험에 크게 의존한다. 아일랜드 음악인협회(CCÉ)의 지부, 여름학교, 축제 등에서 제공하는 전통음악 수업과, 곳곳에서 참여할 수 있는 세션을 통해 함께 연주하면서 전통음악이 오늘날의 문화의 한 부분으로 수용되고 다음 세대로 이어지고 있는 것이다. 본 연구에서는 전통음악 문화를 오늘날의 문화로 이어지게 하는 데 아일랜드의 음악세션, 음악협회, 음악축제와 같은 요인이 어떻게 적용되었는지 알아보고자 하였다. 세션은 누구나 어디서나 음악만들기를 할 수 있게 하고 즐길 수 있게 하는 기능을 감당한다. 음악협회는 전통음악이 계속해서 향유되도록 하는 가장 근본적인 기관으로 전통음악 관련 수업과 축제 등을 조직하고 운영하고 있다. 축제는 끊임없이 전통음악에 젖어들도록 하는, 그래서 모든 세대의 음악적 감수성이 전통음악을 향해 열려있게 하고 있다. 또한 음악축제의 다양성, 다회성으로 전통음악에 대한 국민적 관심의 증대와 관광객을 끌어들이는 역할을 감당하고 있다. 이 연구를 통해 전통음악이 아일랜드인들의 정체성 함양에 기여하며, 전통음악 축제와 곳곳에서 이루어지는 세션을 통해 전통음악 문화가 상품화 되며 사회적으로 유용한 가치를 창출하는 것을 확인 할 수 있었다. Irish traditional music is not trapped in tradition, but is enjoyed as a living and breathing music with the present life. The currentization of Irish traditional music begins with the accumulation of traditional music tunes through the collection and publication of numerous Irish tunes and folk songs. The presentization of traditional music is directly related to the enculturation of traditional music. The culturalization of traditional Irish music relies heavily on the diverse learning experiences provided by families, communities and institutions. Traditional music classes provided by the Irish Musicians Association (CCÉ) branches, summer schools, festivals, etc. and through sessions that can be participated in various places, traditional music is accepted as part of today's culture and passed on to the next generation. This study attempted to find out how factors such as Irish music sessions, music associations, and music festivals were applied to lead traditional music culture to today's culture. Sessions have a function that allows anyone to make music anywhere and enjoy it. The Music Association is the most fundamental institution to continue enjoying traditional music, and it organizes and operates classes and festivals related to traditional music. The diversity and pluralism of music festivals play a role in increasing public interest in traditional music and attracting tourists. Through this study, it was confirmed that traditional music contributes to the cultivation of the identity of the Irish people, and traditional music culture is commercialized through traditional music festivals and sessions held in various places, creating socially useful values.
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아이브스의 바이올린 소나타 2번과 4번에 나타난 음악적 특징
안은지 ( Eun Gee Ahn ) 민족음악학회 2015 음악과 민족 Vol.49 No.-
Charles Ives(1874-1954) completed four violin sonatas between 1903 and 1915. He planned a fifth sonata, but it was unfinished. He also wrote two earlier sonatas. The first of these earlier sonatas is not published, and the second is known as the “Pre-First Sonata”. Ives tried to represent the sounds and feelings of American life in many of his compositions, and he combined the characters of American traditional music and church music in his violin sonatas. From these five available sonatas, I have chosen to examine the Second and Fourth Violin Sonatas in great detail. Both sonatas have distinctive features in common which are particular to Ives. I have studied how each of these features (below) are used in the pieces, and how they create the effect of the whole. For Ives, music was an expression of life. He attempted to recall the memory of Camp Meeting services that he experienced as a boy. The Title of the Fourth Violin Sonata is “Children’s Day at the Camp Meeting.” The first movement of the sonata was based on an actual day at Camp Meeting services. The Second Sonata movements each have a title. The title of the third movement is “Revival”, also showing that Ives was influenced by revival movements. In his violin sonatas, Ives used many hymn tunes as source material. Hymn tunes are used as motivic ideas or thematic material in the first and third movements of the Second Sonata and in all three movements of the Fourth Sonata. In the second movement of the Second Sonata, fragments of several traditional fiddle tunes are used. Ives used a new form which is called “cumulative setting” in his violin sonatas. Excepting the second movement of the Second Sonata, all other movements are composed in this cumulative setting technique. Patchwork is one of the new procedures that Ives began to use after 1902. Patchwork is presented in the second movement of the Second Sonata. In both sonatas, other features such as polytonality, overlapping rhythms, and irregular time signatures are frequently presented. Ives also used ragtime in his music. Ragtime influence is clearly found in the second movement of the Second Violin Sonata.
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