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Karlheinz Stockhausen의 Klavierstucke Nr.2에 대한 고찰
尹演慶 이화여자대학교 한국문화연구원 1980 韓國文化硏究院 論叢 Vol.35 No.-
A look at music history reveals that the idea of new systems of musical composition are not limited to say one particular period. However, such movements as those which arose before and after the two world wars of the 20th century have probably had the most profound influence of all. No doubt there are many reasons for this, but chief among them could well be that by the end of the 19th century, the nucleus of all western music systems, tonality, had been dethroned, and nothing which could correspond to it in importance had been established in its place. Endeavors to build new musical systems have never flagged. On the contrary, compared with other eras this present time is even more vigorous, and I being liberated from the traditions of the past, the province of music is ever broadening, and the individual character of each composer's work is seen even more clearly. The subject under discussion belongs to this new world of music. Karlheinz Stockhausen (b. 1928) is a product of this new search for expression in the modern world, and one of his early compositions Klavierstucke Nr. 2 I-IV is considered here. All the new methods employed in composition come from the inheritance of the past, but the endeavor in this study has been to see how the traditions the past have been cast off and new styles developed. Stockhausen's new theory of "group composition" was established in 1952-53 with his Klavier stucke Nr.2, earlier than his more famous Gruppen(1957) or his work on a larger scale Momente (1962-64), but through this work we can approach his new theory. In the Klavierstucke Nr.2, we find by analysis that the most important principle is what is called the "group" form, and through these pieces (I-IV) we also find that this is an expansion of Weberb's system of "pointillism". Stockhausen approached his composing through the pointillism of Webern but cast it off in the use of his new system of group composition. These two systems are both significant and important. These piano works I-IV each have an individual character and aspect. The first piece (I) is built upon two groups running counter to each other. They suggest that the meaning of beginning and end can be seen together. One group can be seen as the ending of one part of the music and the beginning of the next, and through this technique there is a constant overlapping of musical sense. The second piece (II) contains groups at different pitches which reflect each other in "mirror" form. The third piece (III) is concerned with musical duration as well as with permutations of a 6th and at the same time employs the mirror form. The Mirror form here is the "answer" to the original musical pattern and consequently the original pattern and the answer appear simultaneously. Furthermore, the beginning and end of this piece retain their own independence. Thus, if this composition were to be continued indefinitely, yet other mirror forms would appear and in this way there is a certain similarity to I. The fourth piece (IV) is somewhat different from I, II and III in that their limiting factors are eschewed. Here freedom is given to musical patterns, pitch and rhythm. The groups here are formed by dynamics and the role of the dynamics is such that they are divided into two groups of voices which are contrasted contrapuntally. There are nine different forms such as ff and pp, fff and f and others. In this piece duration is also a controlling force. The conclusions of this papers musical analysis can be summarized as follows : 1. A consideration of pitch shows that in I, the 6th, II, the 10th, III, the 4th, and IV the 12th with their permutations are the most important and that the most strictly treated tone row is in I. 2. Musical structure varies from piece to piece. Mirror form is used in II and III : in IV pointillism is used. 3. Meter is especially important in I where six kinds of permutation are used. 4. The use of dynamics is interesting. I employs 6 varieties, II, six, III, four, and IV, six where a different dynamic is used for each note. In addition, in IV, dynamics are contrasted in two voices, where each note and each group has its own independent life. In conclusion, in these compositions we see that Webern's pointillism techniques were not only enlarged upon by Stockhausen, but that they mark a transitional period between pointillism and his fully developed group composition.
김명숙,유호경,윤연경,이성원,이효숙,장동희,홍선식 연세대학교 생활과학대학 1981 婦學 Vol.14 No.-
주택이란 인간이 생활하는 데 가장 기본적인 단위이며 그 중에서도 부엌은 가족의 식생활과 보건위생을 담당하며 가정의 주부가 하루일과 중 가장 많은 시간을 소비하는 장소로서 과거부터 많은 발전과 개선이 있었다. 그러나 우리나라의 부엌시설과 설비는 비합리적인 요소로 많은 에너지의 낭비와 동선낭비에 의한 시간과 불필요한 에너지의 소모가 과학적 생활에 비능률적인 측면을 낳게 되었다. 이에 이 논문은 현재까지 선행되었던 기존 논문과 참고문헌을 이론적인 배경으로 하여 합리적인 과학생활을 위한 작업대와 수납공간의 합리적인 배치와 한국인 규격에 알맞은 작업대 및 수납장의 칫수와 색채, 그리고 부엌 이외의 저장 공간에 대해서 고찰해 본 결과 다음과 같은 결론을 얻었다.