17세기에 나타난 화성 어법

하지양 新음악학회 2003 新음악논집 Vol.3 No.-

The purpose of this study is to investigate the use of harmonic technique in seventeenth century, before J. S. Bach. That modern tonal harmony began about 1600 in Monteverdi's madrigal 〈Cruda amarilli〉 as the beginning of the modern era in music. the standard account of this as the replacement of a contrapuntal 'horizontal' style by a harmonic 'vertical' way of writing, however, is unsatisfactory. Tonal composition using chord, as it gradually evolved during seventeenth century, can be distinguished from modal composition using intervals, first by its conception of the chord as a primary, indivisible unit, second by its referral of every chords to a single tonal centre, and third by its segregation of intervallic dissonances into the categories of dissonant chords and notes foreign to the harmony. The integration of all chords, and not merely some of them, in a tonal context related to a single centre was a new principle in the seventeenth century. Those theorists who in the seventeenth century formulated the principle of chordal inversion and root did not indeed concern themselves with figured-bass but rather with the technique cf Lassus; and Rameau's decisive establishment of the concept of inversion is more a symptom of the end of the figured-bass era than one of its typical manifestations. The relationship of contrappunto moderno to a tonal harmony was similarly complex in the seventeenth century.

전조 이론에 관한 연구 : 19세기 이론가를 중심으로

배재희 新음악학회 2003 新음악논집 Vol.3 No.-

전조(modulation)라는 용어가 조성 변화(changes of key)의 의미를 포함하기 시작한 시기는 대략 18세기에 이르러서였다. 17세기나 그 이전 시대에는 전조가 조성의 변화라는 의미보다 오히려 음악 형태(musical shape), 음형(figure), 처리법(conduct), 또는 음악 문맥적(context) 의미를 나타냈었다. 다른 여러 의미들과 함께 조성의 변화라는 의미가 표함되기 시작하였던 18세기에 이르면 몇몇 독일 이론가들에 의해 "Modulation"과 "Ausweichung"의 차이에 관한 논의가 시작된다. 여기서 말하는 Modulation이란 화성 진행(harmonic progression)의 전반적인 양상을 일컫는 용어였으며 이것은 현재의 전조라는 용어에 관한 해석과 개략적으로나마 유사하다고 할 수 있다. 반면 Ausweichung은 일반적으로 조성 변화의 과정 또는 온음계적 음계에서 반음계적 요소들의 소개를 위한 필수적 진행을 의미하는 것으로서 현재의 타니시제이션(tonicization)과 근접한 의미를 나타내는 용어였다. 그러나 이러한 차이점에 관한 구분이 일관되게 사용된 것은 아니었다. 18세기 말에 이르면 전조라는 용어에 관하여 이전 시대에 쓰여졌던 다른 의미들은 사라지게 되지만, 일시적이며 지엽적인 화성 진행과 어느 한 조에서 다른 조로 조성이 바뀌는 진정한, 의미의 전조 사이에 차이에 관한 인식은 여전히 확립되지 않았다. 일반적으로 말해서, 전조가 단지 타니시제이션의 의미로 사용되던 것이 19세기 전반동안의 표준이었던 것으로 보인다. 실제로 이 시기의 논서들을 살펴보면 large-scale 화성 진행의 문제들이 전조란 제목 아래에서 논의되지 않았던 대신 형식 구조(formal structure)의 아티큘레이션(articulation)에 관한 논의에서 언급되었다. 19세기 후반부에 이르면 전조와 타니시제이션간의 명확한 구분이 인식되기 시작하는데 1872년에 쓰여진 Chaikovsky의 논서는 이들 두 개념간의 함축된 차이점이 논의된 최초의 논서로 알려져 있다. 그러나 이 시기의 전조 이론을 논하는데 있어서의 또 다른 문제점은 전조라는 용어를 사용하는데 있어 19세기를 통틀어 지속되었던 전조적 관계와 전조적 기술의 차이에 관한 인식의 부족이었다. 위에서 간략하게 살펴본 바와 같이, 전조라는 용어는 여러 가지의 다양한 의미로 사용되어 왔으며 시대에 따라 다른 의미를 가지고 있었기 때문에 이 용어는 각 시대에 맞는 시대적 의미로 다시 정의되어야 할 필요성이 있다고 할 것이다. 특히 19세기는 화성 이론에 관한 많은 논서가 쓰여졌던 시대였으며 또한 전조에 관한 다양한 관점이 매우 활발히 논의되던 시대였다. 따라서 본 연구에서는 19세기의 다양한 조류 속에서 전조 이론이 어떻게 발전되어 왔으며 어떤 과정을 통하여 오늘날 우리가 전조라고 부르는 개념이 확립되었는지를 전조 이론을 연구함에 있어 중요하게 인식되어지는 19세기의 이론가들과 그들의 논의를 통하여 살펴보고자 한다. 19세기의 전조 이론에 관한 연구에 앞서 전조에 관하여 논의하였던 18세기 이론가들 중 주요 이론가와 그들의 논의를 간략하게 소개하고자 한다. Although the term "modulation" has a standardized meaning in our late 20th century theoretical discourse, this has not always been the case. In the 17th century and earlier, for example, "modulation" for the most part did not mean "a change of key," but rather referred primarily to proper musical shape, figures, conduct or context. During the 18th century, the term began to include "change of key" among its meanings, but not to the exclusion of its previous meanings. Some German authors from this period make a distintion between "Modulation"(generally used to refer to the overall aspects of harmonic progression-a sense roughly akin to our understanding to the term) and "Ausweichung"(usually used to denote the process of key change or the means necessary for the introduction of chromatic elements in a diatonic context-suggesting something closer to our "tonicization" perhaps). By the end of the 18th century, "modulation" had, for the most part, shed its earlier, generalized/modally-related meaning and assumed its more modem, exclusive one, but ambiguity still surrounded its usage well into the 19th century, this time in the form of a lack of differentiation between "modulation" used in reference to transient/localized harmonic events and "modulation" used in the 20th century sense of the term. In general, throughout at least the first half of the 19th century, the use of the term "modulation" in the sense of "tonicization" seems to be the norm. Indeed, the issue of large-scale harmonic motion is usually not discussed under the rubric of "modulation," but rather mentioned in the context of discussions of the articulation of formal structure. In the latter half of the 19th century, however, a clear distinction between modulation and tonicization is acknowledged with greater frequency. Chaikovsky's A Guide to the Practical Study of Harmony(1872) is the first treatise discussed here that at least implicitly differentiates between the two concepts. A second problem associated with the use of the term "modulation"―and this is a problem which persisted throughout the 19th century―is a widespread failure to differentiate between modulatory relations and modulatory techniques.

J. S. Bach의 "Die Kunst der Fuge" : BWV 1080/19중 '마지막 Fugue'에 관한 연구

공은아 신음악학회 2001 新음악논집 Vol.2 No.-

"The Art of Fugue" of J. S. Bach may be viewed as one cumulative work, because each of the fugues is based on the same subject, and each fugue additionally exemplifies new procedures in fugal structure. However, because Bach was not able to finish "The Art of Fugue" due to his illness and death. Donald Francis Tovey and Eric Bergel have made a quadruple fugal out of it by bringing in the original subject. Tovey and Bergel have two separate divisions which are required to present the 4th subject, since the 4th subject has its own division and exposition. On the following study of the comparison of the 4th subject of the last fugue between Tovey and Bergel, Bergel's 4th subject is longer than Tovey. However, Tovey attempts to complete many varied techniques in the last fugue; Subject and Answers are alternated in inverted and normal order in the fugue statements of each section.

J. S. Bach의 "Die Kunst der Fuge" : BWV 1080/19중 '마지막 Fugue'에 관한 연구

공은아 新음악학회 2001 新음악논집 Vol.1 No.-

"The Art of Fugue" of J. S. Bach may be viewed as one cumulative work, because each of the fugues is based on the same subject, and each fugue additionally exemplifies new procedures in fugal structure. However, because Bach was not able to finish "The Art of Fugue" due to his illness and death. Donald Francis Tovey and Eric Bergel have made a quadruple fugal out of it by bringing in the original subject. Tovey and Bergel have two separate divisions which are required to present the 4th subject, since the 4th subject has its own division and exposition. On the following study of the comparison of the 4th subject of the last fugue between Tovey and Bergel, Bergel's 4th subject is longer than Tovey. However, Tovey attempts to complete many varied techniques in the last fugue; Subject and Answers are alternated in inverted and normal order in the fugue statements of each section.

슈만의 가곡 '시인의 사랑' 중 피아노 반주부에 관한 연구

이윤정 신음악학회 2001 新음악논집 Vol.2 No.-

This essay/article points the transition from Schumann's piano music to 'Lieder' composition. Various reasons for this transitions are discussed. The song-like melodies and the features of poetic content which are already present in his early piano works play a very important rote in the development of Schumann's Lieder The content of the text is reflected using countless musical element. The fine coordination between voice and piano part is realized in the "Dichterliebe". The piano plays a significant role, not only as accompaniment, but also as an independent part in the introductions and closing sections. The first phrase of the melody can often be heard in the piano introduction. This is indicative of the later mood ol the 'Lieder'. The piano part in the closing sections is dealt with in particular depth. It is discussed in its function as an announcement of the next song and often indicates the sound material to come. Some closing sections emphasize the characteristics of the piano by employing rhythmic, harmonic and melodic figures in small improvisation-like pieces. One of the characteristic of the closing section is that they arouse the strong emotions in the listener. In some 'Lieder' the melody does not finish on the tonic, giving the pieces an unresolved character. Some closing sections succeed in resolving the precious tension of the song melody. The musical elements receive attention in my essay/ article as conveyers of emotion. Above all, the musical elements in the piano part contribute to the mood of the 'Lieder'. It is also significant that the piano part is a continuation of Schumann's early lyrical piano works. It is obvious then, that the piano part of "Dichterliebe" has been influenced by the early piano works and demonstrates many similar characteristics. 로버트 슈만(Robert Schumann, 1810-1856) 은 이미 어린 학생시절에 "시와 음 예술의 내적 동일성"1) 이라는 제목으로 하나의 작은 논문을 쓴다. 이 논문 안에서 그는 시와 음악을 유일하게 부패하지 않은 예술로 묘사한다. 이 두 가지 예술, 즉 시와 음악은 슈만에게 있어서 없어서는 안될 중요한 핵심부분으로 그의 음악에 항상 함께 등장한다; 시는 배경 요소로서, 음악은 표현 재료로서, 피아노는 특히 슈만에서 가장 중요한 악기이면서 동시에 기본악기로써 그의 음악 창작에 중요한 역할을 한다. 많은 작곡가들의 경우처럼 슈만의 음악인생은 피아노와 함께 시작되고 그것을 통해서 그는 음악의 세계를 체험하게 된다. 그의 가곡이 완성되기 전, 즉 1840년 전까지 슈만은 단지 피아노 곡만 발표한다. (op. 1-23) 가곡의 창작 활동이 시작되면서 피아노 음악의 작곡이 중단되지는 않지만 무엇보다도 1840년부터는 그가 학생시절부터 중요한 예술로 꼽았던 시와 음악의 결합이 이루어진다. 즉 가곡이 탄생하기 시작하는 시점이 바로 이 때부터이다. 슈만의 가곡 중에서 주요한 점은 시의 선택도 있겠지만 그 시의 선택에 따른 가곡의 멜로디를 뒷받침하는 피아노 반주부분을 들 수가 있겠다. 소년시절 슈만은 한 편지에서 다음과 같이 쓴다. "... 그리고 피아노는 내가 말로 표현할 수 없는 보든 느낌들을 내게 이야기해 준다."2) 이 문장을 통해서 우리는 슈만의 가곡 속에서 그가 어떤 방법으로 언어로 표현할 수 있는 부분과 그렇지 않은 부분을 묘사하는지 가곡의 멜로디와 반주의 구성에서 알 수가 있다. 즉 슈만 가곡에서 노래 멜로디는 시의 언어와 함께 느낌을 말로 표현할 수 있는 부분으로서 피아노 반주가 시의 언어로 표현할 수 없는 부분을 대신해 준다. 슈만의 가곡 "시인의 사랑"의 반주 부분을 분석하기 전에 우선 1840년 슈만의 가곡의 해 성립과 피아노 음악에서 가곡으로의 방향전환에 대해 설명되어져야 하겠다. 과연 슈만은 어떤 이유에서 갑자기 가곡은 쓸 계기를 갖게 되었고 그것에 대해 어떤 가치를 부여하는지 서술되어져야 하겠다. 두 번째로 "시인의 사랑"의 시 선택과 선택되어진 시의 내용에 따라 쓰여진 피아노 반주 부분에 대해 묘사되어져야 하겠다. 무엇보다도 전주와 후주부분 그리고 어떤 음악적 요소들로 반주부분이 구성되어져 있는지 그리고 피아노가 반주역할이 아닌 독립된 역할도 하는지 설명되어져야 한다.

유아 피아노 교육에 있어서 새로운 교칙본을 위한 제안

나순희 新음악학회 2004 新음악논집 Vol.4 No.-

The Korean people have always had great passion for education, both in the past and today. This passion became stronger with economic growth, creating a fever for early childhood education in every area. Owing to this fever, it has already been over 10 years since early education was provided in the field of music. It initially started as a musical emotional education for groups of children, but soon led to individual practical lessons in piano, violin, etc. As a result, a piano teaching manual naturally became necessary for early piano education provided to children. Also, with the passing of a century of western music education, the demand of the times for a piano teaching manual suited to our country's style followed. Thus, at first, Germany's Bayer teaching manual was enlarged for children to read more easily, or Korea's children's songs were inserted to change the practice music. Meanwhile, with the return of many students who studied in the US, popular manuals of the US were translated as is or imitated in publications. Korea's publishing houses also researched and developed manuals independently. Today, there are over 30 teaching manuals for early piano education. In this study, the 4 major types of manuals currently used commonly in Korea, including German, US, and Korean manuals were selected for comparative analysis in 8 categories, and based on results, a proposal was made for the direction of developing new teaching manuals for Korea's children. The 4 types of manuals are "Little Kids' Bayer", which enlarged and edited the scores of the German "Bayer" with its original contents, "For Little Mozarts", a literally translated publication of a US manual, and "Kids' Hands Piano" and "World's Best Manual - Preparatory Course" recently made by Korea's two publishing houses. Examining issues in teaching methods found in most Korean manuals, including the ones introduced, children are led right into practice songs only after seeing pictures of right postures and hand forms with no finger and wrist exercise at the beginning, although hands, wrists, and fingers are very important as tools for playing the piano. Also in terms of space between both hands on the keyboard at first, most manuals maintain one or two octaves of space when playing. However, since children's perspective is narrower than that of adults, they play by turning their heads left and right to see the two hands and keys. This is why the little kids' postures are easily loosened or their fingers, wrists, arms, and shoulders are stiffened as they try to maintain a good form. Also, in using notes, certain manuals only use from do to sol for both hands for some time at first. These five notes lack in application since they can't be used diversely as C major, E minor, G major, or F major unless key signatures are used. And with this method, finger numbers are marked from do to sol of C major, causing confusion in finger number and scales whenever keys change. And in finger use, although we are physically more developed with the growth of our economy, most kids at age 3 and 4 still find it hard to play the piano by freely moving their five fingers, which are still small muscles. Also, unlike kids of the West, their palms are thin and small, and their fingers are short and weak. But some manuals use all five fingers on both hands from the first practice songs, which in reality is somewhat unreasonable. As for use of notes, the first ones used are usually quarter notes, but since these notes are short, their training is in hitting the notes from the start rather than making good music, without having time to examine if the notes they are playing, finger posture, hand posture, shoulder relaxation, and sitting posture are correct. Furthermore, certain manuals use only notes and pauses of quarter to half beats until the basic stage of the manual is over, lacking in diverse rhythms and songs. This is one reason why kids don't find enjoyment and easily quit. Manuals published by literally translating foreign manuals offer no children's songs, folk songs, or creative songs suited to Korean taste. Therefore, it is our reality that they are not appropriate piano manuals for Korean children to develop curiosity, interest, familiarity, and a national spirit. Meanwhile, when considering education for creativity, which is a very valuable part of modern education, playing variations, modifications, and scale movements are almost never treated. A dire need for improvement was recognized when realizing such problems in our reality. Today, Korea's income and cultural levels have grown very high. Thus, even for children without much musical talent, parents hope to offer and children themselves hope to obtain piano education. Therefore, through this study, a direction for new manuals has been presented in piano education for children with or without musical talent.

프레스코발디의 토카타에 관한 연구

하지양 신음악학회 2001 新음악논집 Vol.2 No.-

It is late 16the century that instrumental music, which had been an subsidiary part of vocal music, became to develop as an independent field. Accordingly, various forms of instrumental pieces such as Toccata, Ricercare, Fantasia, Canzona, Dance Music, Prelude, Partita start to appear. Among these forms, toccata, which had begun in the Renaissance era, was led to the Baroque period and developed. It had its climax in Girolamo Frescobaldi(1583 - 1643)'s keyboard music pieces. According to the result of analyzing G. Frescobaldi's Toccata, there is a chromaticism in later period's melody rather than in early period. Also, compositional trends became to prevail from the coexistence of modality and tonality with diverse harmonies and imitative skills in a motive and development. Just as G. Palestrina's work is essential in counterpoint, the most important element of Baroque music, which was completed by J. S. Bach, G. Frescobaldi's Toccata greatly influenced J. S. Bach's instrumental music, Especially, a chromaticism that started to appear in G. Frescobaldi's work was later developed and completed by J. S. Bach.

바하 코랄에 나타난 화성적 특징

임경신 新음악학회 2003 新음악논집 Vol.3 No.-

The purpose of this study is to investigate the use of harmonic technique in J. S. Bach's music by analysing his harmonization of chorales 371. An analysis of the 371 chorales reveals the harmonic technique of Bach and the 18th century style. In Bach's harmonization of chorales, he utilized mainly diatonic triads but also chromatic chords. For the progression of the voice-leading, Bach preferred oblique and contrary to similar. Bach's method of partwriting the first inversion of a triad differs very little from earlier procedures. The controlling factors which helped to organize his method are; much less use of crossing voices, classification of chords, clearer procedure of approach and departure, and crystallization of a method of doubling. Bach utilized the 46chord less often than one would expect. He used the types found in the 16th and 17th centuries, but the emphasis placed upon them is radically changed. An analysis of the 371 chorales reveals that Bach used mainly suspension, passing tone, neighboring tone, and anticipation but escape tone, appogiature and pedal point are showed very rarely. J. S. Bach's significance for the chorale is not determined by the few original melodies he evidently contributed but rather by his appropriation of the chorale in enormous variety of instrumental and vocal composition. His four part chorale harmonization in particular, which mark the culmination of the Cantionalsatz tradition, may be the most important event in the history of the chorale since the Reformation.

창작 대금 작품에 나타난 표현의 문제 : 황규일 엮음 「대금 창작품집」에 실려 있는 작품을 중심으로

김홍인 新음악학회 2001 新음악논집 Vol.1 No.-

The "New Korean Traditional Music" refers to contemporary music for Korean traditional instruments and is composed in such musical forms as solo, pieces, chamber music, orchestral music, and concerto. The purpose of the study was 1) to examine how composers use expressive elements of phrasing, articulation, dynamics, and tempo in the new Korean traditional music composed for Taegeum (the native Korean transverse flute) : and 2) to investigate how performers play the expressive aspects in the Taegeum works. This study analyzed three musical works form the "New Compositions for Taegeum" edited by Hwang, Kyu-Ⅱ, which consisted of twenty-one compositions. The three musical works were "Ripple", "Wind Sound from Bamboo", and "Concerto No. 1 (Hwang, Eui-Jong)." In the analysis, the composers' intentions of expressions as written in the scores were compared with actual performances of expressive aspects in the music. The results showed that the musical works in the "New Compositions for Taeqeum" had only a few expressive markings or rarely had them, except for only a couple of works. Also, it was found that the expressions by the two performances were different from those in the scores in terms of articulation, dynamics, and tempo. Furthermore, the two performances were different from each other at several points of the music. Although Korean traditional instruments have not developed but been preserved, the traditional instruments can play musical expressions that Western instruments can not. Thus, the compositions of the new Korean traditional music should have not only the expressive elements used in Korean traditional music, but also, new ones in contemporary style. It is in urgent need to systematize symbols and vocabularies for expressions performed by Korean traditional instruments 1) in order to preserve and transmit Korean traditional music and 2) in order to perform it and its new style, i.e., the new Korean traditional music in appropriate performance practices.

Alexander Scriabin의 작품에 나타난 PC-Set의 구조와 변형

박은경 新음악학회 2001 新음악논집 Vol.1 No.-

Alexander Scriabin (1872-1915) is an important and influential composer, musically and historically, but because of his unique style and expression, he was never the founder or member of a compositional school or movement. For this reason, he is considered as an unclassifiable composer and is isolated from other composers by many music scholars. However, more than half of a century after his death, his music is beginning to be recognized by musicians not only for performance but also for the analytical and historical studies. Based on gradual changes in his compositional techniques, his music can be divided into two stylistic periods: a tonal period (1903-1910) and an atonal period (1911-1914). During these periods, he tried to move away from tonality. He emphasized pitch organization, especially vertical, rather than horizontal, pitch-class sets relationships, and continuous transformations of the same sets rather than employing different sets. In this paper, Five Preludes, Op. 74, no.4 (1914), one of his last works, will be examined with a focus on the structure of pitch-class sets and their successive transformations throughout the piece. The objectives of this study are to find the sets he has used in the piece and their transpositional repetition, and to statistically show them in tables and figures.