피아노 연주시 부정적인 긴장의 해소에 관한 연구

양준자 한국음악학회 2001 한국음악학회논문집 음악연구 Vol.24 No.1

Tension -physical and mental- is of course part of the human condition. Especially performing in front of audience produces stress, greater or less, on the part of players whether the player is the maestro or young student. Since music is an art in time, which cannot be corrected once it is produced, the player is always under stress and pressure with anxiety about what might be happen during the performance. Especially, pianists who play from memory feel a great stress and pressure, sometimes even a stage-fear. These stress and pressure give rises to mental and physical tensions. If the tension reaches to a serious point, it causes physical problem so called muscular problem. The physical problem will prevent the player from expressing his/her thoughts freely. Therefore, it will influence badly on physical relaxation and control. Consequently this will result in failure of performance unless the player removes these improper tensions and physical problem. Tensions, however, does not always have negative effects on playing. It enhances creativity and brings enthusiasm to the performance. Proper tensions are essential parts of succesful performance. The purpose of this paper is to research for some ways to avoid the negative effects of conflicting tensions in the way to transform them into creative tensions. Followings are suggestions on how to relieve and eliminate improper tensions. a) self-confidence and sense of achievement which come from thorough study and perfect memory of the work is the best way to get rid of fear and anxiety. b) Since tension, especially bodily tension, has an effect on breathing, the player needs to give attention to breathing in daily life in preparation for proper breathing whether in practice or in performance. c) The Player should be able to use his whole body properly; his head, neck, back, shoulders, arms and fingers. d) The relief of tension comes when the player's body movement is in accord with the musical movement. e) The player, by producing tension and removing it consciously, can overcome fear and anxiety and even transform them into creative force. f) Food control -take food which contains vitamin B, C and minerals, and avoid indigestion food or caffeine.

긴장이 피아노 연주에 미치는 영향과 그 대처방안에 관한 연구

양준자 대신대학 1993 논문집 Vol.13 No.-

The performance of music, especially ciassical music, in front of the audience produces stress, greater or less, on the part of players whether the player is the maestro of young student, and the stress gives rise to mental and physical tensions. Since music is an art in time, which cannot be corrected. once it is produced, the player is always under stress and pressure with anxiety about what might happen during the performance. Pianists who play from memory feel a great stress from this and sometimes even a stage-fear. The performance fails unless the player removes this bad tension. Tensions, however, does not always have negative effects on playing. It enhances creativity and brings enthusiasm to the performance. Proper tensions are essential parts of successful performance. The purpose of this paper is to search for some ways to deal with the bad tensions in the way to transform them into creative, tensions. Following five points are my suggestions which I draw, from my 20 years of experience in teaching and performing with help from other sources. First, self-confidence and sense of achievement which come from thorough study and perfect memory of the word is the best way to get rid of fear and anxiety. Second, since tension, especially bodily tension, has an effect on breathing, the player needs to give attention to breathing in daily life in performance. Third, the player should be able to use his whole body properly; his head, neck, back, shoulders, and arms. Fourth, the relief of tension comes when the player's body movement is in accord with the musical movement. Fifth, the player, by producing tension and removing it consciously, can overcome fear and anxiety and even transform them into creative force. In conclusion, it can be said that proper tensions at proper moments and proper places are essential to piano playing.

슈만의『아베그 변주곡 작품 1』에 관한 연구

양준자 안양대학교 인문과학연구소 2001 人文科學硏究 Vol.9 No.-

Robert Schumann, who was active in the 19th century romantic period, is one of the most representative composers who expressed the character of Romanticism in his works. Romantic music emphasized on private feelings and freedom, and often comprehensively reflected philosophy or other art fields, such as poetry, literature and paintings. It was liberal and subjective. Composers of piano music in romantic period were interested in personal feelings, fantasy and mystery, so they preferred short pieces of music to strict complicated pieces, i.e. Although Schumann had many works over various music genres, his works consist mainly of piano compositions. Most of this piano compositions are short character pieces and the content of the works are unique, in the sense that they are program musics which are connected to literature and everyday life. Among Schumann's piano music, his variation was different from former variations in the way that they were more emphasized on poetic connection rather than the relation of variation and subject. This played an important part in the development of variation from in the romantic period. He displayed literary imagination and directly adopted the letters which make up words as basic materials to compose works. Schumann's Abegg variation had the subject melody of A-B♭-E-G-G sound, which was taken from an unconfirmed woman called Abegg, as its subject. The purpose of this study is to analysis Abegg variation from the view of performing musician and to study Schumann's music world which pursued the unity of poetry and music via linguistic foundation. Through these processes, it could be approached to Schumann's intention to his music more closely, when reproducing his piano works as performing pianists.

신체의 역할이 피아노 테크닉에 끼치는 영향에 대한 분석 연구

양준자 안양대학교 인문과학연구소 1999 人文科學硏究 Vol.7 No.1

Abstract 'Technic' is the valid skill to achieve the artistic the creation as well as reproduction(performance in case of music). However, the true sense of musical 'technic' is not just physical activity but also mental activity combined. Therefore, the right 'technic' for the piano performance is the one with proper balance between the physical technic but wiyhout the mental(musical) aspects. Performance with brilliant physical technic but wiyhout the musical contemplation can be meaningless activity. Whereas, one can not reach the astistic representation with only the musical contemplation and physical skill. Piano performance is the artistic expression of each composer's idiosyncratic musical piece, through the piano. Performer is able to reproduce good music only with the harmony of physical and mental aspects. The term 'musical' means that the performer feels and needs to express the composer's emotion which could not mark on the music. The term 'technic' means the skill of physical performing parts(fingers, wrists, arms, shoulders and torso) for the performers to express the composer's emotion with music. In these days, the spread of piano instruments promotes the great number of piano major students. However, many of these students do not have the right conception of the 'technic' as well as the right understanding of the capacity and the mechnism conception of the piano instument. Through the experience from teaching piano for number of yeats, performance, the conversation with other musicians, the books and music periodicals, I decided to study on "An Analysis on Physical Roles related with Piano Technic". I hope that this study would help to promote the right teaching method of piano performance for the piano students.

J.S.Bach의 「프랑스 조곡」에 나타난 꾸밈음의 주법에 관한 연구

양준자 대신대학교 1994 논문집 Vol.14 No.-

This study has attempted to deal with the ornaments in the music of J.S.Bach who was the representative composer of the Baroque era when the ornaments indicated by signs were very much used. This study especially concerns the performance practice of all the ornaments which occur in "the French Suite" which is one of the most favorite repertoire for the piano performers. In order to express this great music closely to Bach's own intention, the performer is keenly required to render the necessary ornaments properly because the ornaments in the Baroque music had a definite expressive function as a means of conveying affections. The ornaments in the Baroque period should, at least, retain something distinctive in comparison with those of earlier and later periods. They should be expressed closely to the characteristics and styles of Baroque ornaments Today, the majority of players of Bach's music still play the appoggiaturas short and before the beat, and habitually begin trills on the main notes. Such a way of execution would damage the composer's intention and the inspiration of his music as well as the Baroque characteristics. Therefore, a performer who plays Bach's music must study of Bach's contemporaries and historical evidence. With these background and his own musical judgement, a player should deduce the most convincing interpretation by considering characteristics of his ornaments and the context to which the ornaments belong.

음악예술에 있어서 긴장 이완에 대한 연구 : 그 부정적인 측면과 긍정적인 측면에서의 연구 A Study in Negative and Positive Aspects of Tension

양준자 안양대학교 1997 논문집 Vol.17 No.-

Tension-physical and mental- is of course part of the human condition. Especially performing in front of audience produces stress, greater or less, on the part of players whether the player is the maestro or young student since music is an art in time, which cannot be correced once it is produced. If the tension reaches to a serious point, it causes physical tension, so called, muscular problem. The physical problem will prevent the player from expressing his/her thoughts freely. And it will influence badly on physical relaxation and control. Consequently this will result in failure of performance. This dissertations objection is to research for some ways to avoid the negative effects of conflicting tensions. This article deals with three fields of music-String, Piano, and Voice. The causes of tension for each field is different according to the characteristics of specific instrument. Therefore, the methods, how to relieve tensions, should be different. However, the more important thing is these three fields have strong common elements. These fields all have the same basic reason of tension-tension caused by the aspect that they are performing arts. The common ways to cope with their tensions are like the followings: 1) The need to eliminate these anxieties and tensions often creates a strong stimulus in players mind that it becomes the source of their creative motivation. This will change negative tension into positive element. 2) Maintenance of state of physical balance and relaxation 3) Importance of breathing exercises 4) Sufficient practice and the capacity to perform the works 5) Food control - take food which contains vitamin B, C and minerals, and avoid indigestion food or caffeine.

슈만(R. Schumann) "어린이 정경" 작품 15의 형식과 피아니즘에 대한 연구

양준자 ( Joon Ja Yang ) 한국음악학회 2004 한국음악학회논문집 음악연구 Vol.32 No.-