이상근의 가곡 〈 바람이 분다 〉에서 시어 바람을 표현하는 매개변수: 화성과 리듬

이내선 ( Nae-sun Lee ) 이상근기념사업회 2015 이상근 연구 Vol.1 No.-

Sang-geun Lee is one of the composers who successfully portrayed intonations of poem musically and realized emotional expression of poetic words in his melody of art songs. He elevated Korean art song as a genre both literary and artistic at the same time by colligating “poem” and “music”. In this research, the method by which composer combines poem and music is discussed at first and then “how” this combination develops is approached through analytical method of music theory. The author selected the eighth song “Wind blows” from his song cycle Aga II in order to discuss these points. This study examines the relationship between the poem and music with respect to musical parameters, namely harmony and rhythm. While a poem conveys a topic, music also carries a theme that integrates the whole. It is interesting to observe how the composer uses musical idea as a device that derives coherence and continuity of the song. Especially, the way he carries his musical plan in accordance with expression of poem, in other word, how he uses certain seventh chords in certain ways, the relation between these seventh chords as well as how these relations united with rhythmic factors and generate ‘blowing wind’ figure. Along with these, the discussion on ‘how this thematic figure is used in contrasting part continually’ leads to the conclusionthat deals with the composer’s compositional techniques and musical lan-guage. Likewise, that elapse of time relates to the ‘common element’ seems to have particular importance in both harmonic and rhythmic aspects in Sang-geun Lee’s composition. First, in harmonic aspect, the method in which the 7th chords connect to one another through common interval perfect 5th as well as two 7th chords sharing three common tones cross boundary of 9th chord are present throughout the song. The same holds true in rhythmic aspect as well- Temporal regularity is expressed with emphasis. The use of parameters related to time, like rhythmic patterns, bar unit rhythm, and beats may be to express the poetic word ‘wind’ and its change in musical means. Also, the musical idea that satisfies the poetic expression achieves uniformity throughout the whole song through contrast and repetition.

슈만의 작품에 나타난 성부의 동등성을 성취하는 대화기법

이내선 ( Nae Sun Lee ),이혜승 ( Hye Seung Lee ) 세계음악학회 2011 음악과 문화 Vol.25 No.-

This study is an analysis of R. Scumann`s song cycle <Dichterliebe>, <Frauenliebe und Leben>, <Liederkreis op.24, op.39> and string quartet op.41. Mutually complemented texture of homophonic and polyphonic is premised I-V-I harmonic structure. In this basis, the analysis shows how the independent role of voices is achieved. The lied is formed with homophonic texture, which is made of melody and piano accompaniment. However, when it is analysed in detail, the piano accompaniment is consist of three different roles of the voices which are melody, rhythm and harmony voices. Accordingly, the piano accompaniment is formed with polyphonic texture, which is led to the conclusion that the lied ultimately has "Homophonic-Polyphonic texture." And this "Homophonic-Polyphonic texture" makes the equal importance among the voices or among the media by imitation and counterpoint. The dialogue that is initiated by the exchange of the motive has a transit role to the structure harmony or is used to prolong the tention harmony. Thus the effect of the dialogue technique is a creation of "mobility" and "tension."

가사에 담겨있는 대비를 표현하는 음악적 대조: 리트 <넘쳐흐르는 물>과 <얼어붙은 강위에서>에 사용된 매개변수의 다양한 결합 방식

이내선 ( Nae Sun Lee ) 서울대학교 서양음악연구소 2013 음악이론연구 Vol.20 No.-

음악이라는 시간예술에서 연속성과 통일성을 동시에 실현시키는 방법 중 주로 사용되고 있는 이원적 요소들 중 하나가 반복과 대조이다. 특히 대조라는 요소는 반복의 효과를 높여준다. 본 논문은 이 음악적 대조를 실현시키는 매개변수들이 어떤 방식으로 결합하는지에 관한 연구이다. 분석에서는 슈베르트의 《겨울 나그네》 중 두 곡, <넘쳐흐르는 물>와 <얼어붙은 강위에서>에서 텍스트가 표현한 대비를 해석한 음악적 대조를 살펴보았다. 《겨울 나그네》의 텍스트에서 방랑자에게 고통과 사랑, 절망과 희망이 공존하고 있듯이 두 가곡에서도 대조적인 요소는 수직적으로/수평적으로 결합하며 공존한다. 각각의 가곡은 서로 다른 텍스트인 만큼 그 가사를 표현하는 주요 매개변수와 그의 결합 역시 다르다. 그럼에도 두 가곡 모두 리듬적 대조를 기본적인 아이디어로 사용하는 공통점이 있다. 서로 상관되는 대조적인 음형에는 대비되는 요소들뿐만 아니라 공통적인 요소들도 포함되어 있기 때문에 이 대조적인 음형들이 전혀 이질적인 것만은 아니다. 이는 음악이 진행되면서 발생하는 음형들의 변형 과정에서 관찰할 수 있는데, 하나의 음형이 변형될 때에 어떤 매개변수는 공통분모가 되는 반면 어떤 매개변수는 점차적으로 대체되는 요소가 된다. 다시 말해 추가되는 요소들에 인해 음형의 변화는 점진적으로 변화되면서 대조적인 성격까지 도달하기도 한다. In this paper, I wanted to examine “what kinds of connections can we hear between two comparative contrasting figures?” In order to find an answer to this question, I analysed two songs in Schubert`s <<Winterreise>> and discussed how the composer expressed and interpreted the contrasting emotion of the text into his melody and harmony of the song. Among musical elements, the rhythmic element is one of the characteristic features which leads the continuity in the flow of musical time. Furthermore this rhythmic element as a principal device provides musical material to construct comparative figures based on the poetic contrast. Once a characteristic figure appears, it continues to reappear constantly or transforms itself into another one. This process is achieved through the musical time for continuation and coherence. Also the characteristic figure is gradually transformed by adding some distinctive elements or by eliminating them. It means that even contrasting figures also share the common feature and this is the factor how the diversity and unity are accomplished at the same time.

네오리만 변형이론을 통해 살펴본 반음계적 화성진행에 내재되어 있는 암시화음과 성부진행(1)

이내선(Nae-sun Lee) 한국서양음악학회 2006 서양음악학 Vol.9 No.3

디자인과 화성체계의 상관관계로 살펴본 핵심 아이디어의 활용

이내선 ( Lee Nae Sun ) 한국서양음악이론학회(연세대학교 음악연구소) 2020 음악이론포럼 Vol.27 No.1

본 논문은 주제 또는 동기에 담겨있는 핵심적 아이디어가 ‘어떻게 악곡의 구조를 구축하는 요소로 작동하는지’를 분석한 연구이다. 핵심적 아이디어의 리듬을 매개변수로 활용하거나 선율을 매개변수로 활용하는 경우를 각각 베토벤의 피아노소나타 제 2번과 제 23번의 분석을 통해 살펴본다. 제 2번에서는 먼저 약박-강박이 결합된 기본음형이 변주를 통해 리듬적 대조를 이루는 음형들로 변형된다. 변주에서는 박의 특징을 그대로 유지하면서 서로 다른 리듬형을 파생시킨다. 결국 본질적으로는 동일하지만 서로 다른 리듬형이 세 가지인데, 이 리듬형들은 제 1주제에서 제시된 후에 형식상 구조적으로 강조가 필요한 경우, 예를 들면 딸림조 영역의 연장에서 단조모드가 장조모드로 전환되는 시점의 화성적 딸림화음의 출현, 또는 발전부 끝을 마무리하면서 재현부를 준비하는 딸림화음의 구간 등에서 활용된다. 제 23번에서는 핵심적 아이디어가 악곡 전체의 화성적 구조에 필요한 강조점을 명시할 수 있도록 활용된다. 제 1주제에서는 선율적 특징(6-5)의 핵심 아이디어가 뒤늦게 등장한다. 그러나 ‘등장의 순간’이 선행악구에서부터 예비 되어 있다는 사실이 흥미롭다. 이 예비는 악구의 마무리 후에 자리 잡고 있는 쉼표가 수행한다. 이 핵심 아이디어가 좁은 영역에서는 선율진행의 구조를, 그리고 넓은 영역에서는 베이스 화성진행의 구조를 통해 재현된다. 핵심 아이디어에는 리듬적, 선율적, 화성적 내용이 함축되어있다. 그 함축의 내용은 변주를 통해서 또는 다양한 활용을 통해서 실현된다. 중요한 사실은 핵심 아이디어의 변주와 활용 모두 악곡 전체에 구조적인 응집력을 주는 주요 요인이 된다는 것이다. This paper is an analytic study how the core idea contained in the subject or motive works as an element that builds structure of music. We looked at the use of rhythm and melody of core ideas as parameters through analyses of Beethoven’s piano sonata No. 2(Op.2 no.2) and No. 23(Op.57), respectively. In No. 2, the basic motive combined with the weak beat-strong beat is transformed into the rhythmically contrasting figures through the variations. In variations, different rhythmic figures are derived while retaining characteristics of the beat. There are three different types of rhythms that are essentially identical, and after the first theme, these rhythms are employed to emphasize structurally within the form such as followings; the moment when the minor mode switches to major mode in dominant key prolongation where the harmonic dominant chord appears; or the dominant area at the end of the Development in preparation for the Recapitulation. In No. 23, the key ideas are used to clarify the point of emphasis needed for the entire harmonic structure of the piece. The melodic characteristic of 6-5 voice-leading appears belatedly in the Main theme. But, it is interesting to notice that this ‘moment of entrance’ is prepared in advance. The rest sign after the end of the phrase carries this mission. This key idea is reproduced through the structure of melodic progression in narrow areas and by the structure of bass harmonic progression in broad region. This core idea signifies rhythmic, melodic, and harmonic content. This contents of the connotation are realized through variations or through diverse uses. The important fact is that both variations and utilization of core ideas are the main factors that give structural cohesion to the entire work.

16세기 대위법의 3성부 작법을 위한 예비지식

이내선 ( Nae Sun Lee ),안소영 ( So Yung Ahn ),이은나 ( Eun Na Lee ),조성기 ( Sung Ki Cho ) 서울대학교 서양음악연구소 2004 음악이론연구 Vol.9 No.-

논문 : 음악분석이론의 유용성에 관한 논의

이내선 ( Nae Sun Lee ) 세계음악학회 2006 음악과 문화 Vol.14 No.-

종별대위법을 적용한 리듬 연습의 교수법 제안

이내선 ( Nae Sun Lee ) 서울대학교 음악대학 2011 음악이론연구 Vol.17 No.-

This study explores some teaching methodes to understand musical time- especially rhythm- and to practice rhythmic training based on the method of counterpoint species. A rhythmic pattern could have different meanings depending on different meter. It means that the real meaning of a rhythmic pattern is determinately approved by the distinctions between strong beat and week beat, and the connections of these beats. This is the reason why we need to consider the correlation between the rhythm and the beat (or meter) if when we practice a rhythmic pattern or read a rhythmic figure. The rule of counterpoint species informs this correlation showing several varieties of musical time based on the regular divisions by each of a single note value. Even though the melody is combined by two factors―pitch and rhythm, we need to begin by understanding the latter because a rhythmic matter consequentially determines the character of each note. In other words, as we have ready practiced by gradual steps of regular division in the counterpoint species, the rhythmic division allows to add extra notes, and also to determine the character of these notes like passing note, neighboring note. This fact could be conformed in the example of variations finely demonstrating that the structure of melody is full-filled by some decorated notes in many different ways.

개념풀이 : 중개화음

이내선(Nae Sun Lee) 민족음악학회 2001 음악과 민족 Vol.21 No.-

르죈의 정률음악 연구 선법적 요소와 조성적 요소의 대립과 공존

이내선 ( Nae Sun Lee ) 서울대학교 음악대학 2014 음악이론연구 Vol.22 No.-

The music of Renaissance period, which is in modal style, shows transitional traits from modal to tonal music during the 16th century. In order to define tonal characteristics in this modal style music, the distinction between modal and tonal elements should be clarified first. This paper deals with Le Jeune’s Psalm setting that is musique mesuree and traces the process of confrontation and coexistence of both tonal and modal elements to eventually figure out how the tonality originated in the music of this period. The reason for analyzing musique mesuree is because the regular cadence comes at each line in here, and its homo-syllabic texture make it easier for us to find out harmonic function and progression which define the concept of chord that is one of the very characteristics of tonality. It is confirmed that the concept of chord and interval crisscrosses at cadences. In homophonic texture consonant harmonies consist of third/fifth and third/sixth. The perfect consonant sonority of third/fifth is mainly used while the imperfect consonant of third/sixth combination is used when the scale moves a half step upwards. Also, through the modifications at cadence points, the tenor-soprano structure changes into the bass-soprano one and through the use of lowered 6th, the church modes enter into the duality system of major and minor. Therefore, Le Jeune’s musique mesuree succeeds to the tradition of modal music while showing the accommodating process of the future tonal music. Furthermore, this confirms the fact that the tonal language is built gradually in this period.