논문 : [번역문] 자아와 세계 사이에서: 20세기 예술가곡의 발전 경향과 이상근의 가곡

볼프강라트헤르트(번역조현리),조현리(역) 이상근기념사업회 2015 이상근 연구 Vol.1 No.-

[번역문] 기억의 편린으로서의 목소리: 냉전의 맥락에서 본 이상근의 성악곡

양치엔-창,정문혁(번역) 이상근기념사업회 2015 이상근 연구 Vol.1 No.-

이상근의 가곡에 나타난 가사 그리기와 음악적 매개변수들의 관계 연구: 연가곡집 《가을 저녁의 시》를 중심으로

정희영 ( Hee-young Jeong ) 이상근기념사업회 2015 이상근 연구 Vol.1 No.-

This study aims to analyze the parameters Sang-geun Lee used to shape the lyrics of his song cycles and to discuss his compositional characteristics and its musical implications. Composer Sang-geun Lee, composed numerous works in various genres, such aschoral music, opera, piano music, chamber music, and orchestral music. He is considered one of the important figures in the 20th century Western music in Korea. He was also active as a conductor, critic, and educator. His songs are acclaimed as masterworks for its remarkable creativity and artistry, and the song genre clearly reveals his musical world. Sang-geun Lee’s writing, ‘A study of Korean songs’ (1955) shows his keen interest in song genre. In his writing, he strongly stressed the importance of choosing a poem when it comes to composing a song, by saying, “There is no need to imitate Schubert who added a beautiful music for such a poor (worthless) poem (In other words, the music is too good for the poem).” After composing his early songs based on lyrics from Koryo Gayo and Minyosi, Sang-geun Lee chose poets who shared the time and space with him, to name a few, poet Chun-Su Kim (1922-2004), Jang-Hyun Ahn (1928-2003), and Chi-Hwan Yoo (1908-1967). Using their poems as lyrics, Sang-geun Lee tried to communicate with experiences during turbulent times in Korea, from emancipation (or liberation), war to dictatorship. His songs include four short compositions “Haegok”, “If you”, “Dongdong”, and “Badaya”, and four song cycles, Songs dedicated to Thee, The Poem of an Autumn Evening, Aga I, and Aga II. For his song cycle Poems of an Autumn Evening, he used a modern compositional technique that he did not use for his earlier works. Because of this modern compositional technique, this cycle holds a prominent place in his song writing development. Since he did not see the lyrics as a simple tool delivering the meaning of melody, but as a companion that leads and creates the overall musical atmosphere, he concentrated on bringing out the characteristics of the lyricsmusically. In other words, he applied the technique of text painting to achieve the musical shape of the lyrics (poems) using musical parameters, such as structure, scale, harmony and so on. His song cycle The Poem of an Autumn Evening consists of eight songs. He used Chun-Su Kim’s early collections of poems written during 1950s, four poems from Cloud and Rose (29 poems) and Swamp (21 poems). After a thorough analysis of The Poem of an Autumn Evening, I categorized musical parameters and its characteristics that I discovered in Sang-geun Lee’s song cycle, Poems on an Autumn Evening into three parts. First, Sang-geun Lee used various musical parameters as musical tools in each section of the work to match the structure of poem to the musical form, which results in the overall unity and diversity at the same time. In other words, he used scales in various ways in each section of the work including a major and minor scale, a pentatonic scale and a scale that he created. He consistently used a specific intro, bridge, and a group of chords at the beginning and the end of each section of the work. To express the musical climax of the work, he always used the highest range of pitches with articulations and dynamics such as an accent, tenuto, crescendo, forte, fortis-simo, and so forth. When he tried to emphasize a specific poetic text, he repeated the text smoothly by using a rhythmic extension or repetition without distracting the unity between the overall structure of music and the poem. Second, he used a technique that either contrasts or match the lyrics and its musical atmosphere in order to express the implications of the lyrics. For this, he first considered the direction of the melody, whether it is moving downward or in contrary motion of the two parts, song and accompaniment. Then he used a unique scale that creates the right musical color to describe the atmosphere or mixed two scales. He also applied a technique of changing a central tone or tempo. He used these techniques to represent the contrasting psychological state of the poetic self. Lastly, he succeeded in describing a specific poetic text vividly by using musical ornamentation in song part, a homophonic texture in which song and piano part move in rhythmic unison, and so on. Poems on an Autumn Evening is one of the representative modern song cycles in Korea, because the composer, Sang-geun Lee, achieved a musical shape of poems using traditional techniques such as a three-part-structure, scale of major and minor, functional harmonic cadence as well as modern compositional techniques such as a church mode, pentatonic scale, frequent change of tempo, chromatic melody, and dissonant chord. This helps us to understand why Sang-geun Lee holds a prominent position as a representative Korean composer as well as his contribution to the development of modern art song in Korea.

이상근과 1980년대, 그리고 ≪아가 II≫

이가영 ( Kayoung Lee ) 이상근기념사업회 2016 이상근 연구 Vol.2 No.-

This study attempts to read Lee Sang Guen`s music in the historical context of 1980s of Korea. By considering the society of the 80s being one of the most turbulent eras of the 20th century of Korea, this study addresses various ways in which Lee reacts to, interact with, and engage this particular era. In particular, the study deals with Songs of song II written in 1988 with the text by Shin Dal Ja, focusing upon if these series of songs reflect the 80s. In order to examine the relation of 80s to Lee`s thoughts in general, and to Songs of song II in particular, this study traces Lee`s writing in the course of 50s, 60s, and 70s, arguing that Lee`s ideas, in one way another, demonstrate the ideas of essentialism that lead him not to see Korean and western art music in a subjective, balanced way. However, this paper argues that toward 80s, Lee appears to show his dissociation with the idea of essentialism. And this paper proposes that Songs of song II musically illustrates the kind of change that Lee underwent in the 80s.

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.

이상근의 ≪임에게 헌정하는 노래≫(op. 12)에 담긴 시와 음악의 관계-제2곡 < 가는 길 >을 중심으로-

신인선 ( In Shun Shin ) 이상근기념사업회 2016 이상근 연구 Vol.2 No.-

Various researches on Sang-geun Lee (1922-2000)`s songs praise not only his achievements as a composer, but also his literary accomplishments. This study focuses on how discretely Sang-geun Lee`s literary attainment was displayed in Songs Devoted to the Lover (1942, 1948), which Lee composed five songs based on the text of Sowol Kim (1902-1934) and Anseo Kim (1896-unknown)`s poetry. Even though the composer published his songs as ``Song of collection``, his reason for selecting poems of the two poets, and for including "Willow Spring", composed in 1942, as the fourth song of the collection was ``to weave together group of related poems into a story``. In other words, the ``story line`` suggested by the poems in the collection can be interpreted as the ``song cycles`` of this collection. The musical contents of this collection of songs also show that it can be categorized as the ``song cycles``. Every songs in the collection uses the pentatonic scale`s major second + minor third combination that the fourth song "Willow Spring" as their theme, as well as forming relationships among the composition. By grouping the fourth song, that displays bitonality of a minor-scale and e minor-scale, with other songs, three each, The combination of D-E-g (1st-3rd song), E-g-a (2nd-4th song), g-a-f (3rd-5th song) can be found. This explains the various changes in major synchronous (mixtures such as retrogression, retrogressive motive, etc.) in the Willow Spring`s 2nd major and 3rd minor`s, and the relationship among the composition of each songs that form this collection. The study on the close relationship between songs and poems in the perspective of Sang-geun Lee`s composition of songs analyzed the second song of the collection Songs Devoted to the Lover, "On the Way to Go" in depth. Sang-geun Lee understood the poet Sowol Kim`s intention in the free verse of the poem "On the Way to Go", that is typically interpreted as 7·5 rhymed verses, and musically contained the ``breath of the poet`` contained in the poem. By comparing and contrasting the song "On the Way to Go", included in Songs Devoted to the Lover, with other composers` songs with the same title, this study fully presents that Sang-geun Lee applied the unity between the lyric`s intonation and melody based on the study of Korean lyrics, musical expression in the poems, the proper selection of the song type according to the form of the poems, and the melody in accordance to the accent and the intonation in the poems in his composition of songs better than any other composers.

이상근이 가곡에서 추구한 한국적인 미

최금뢰 ( Keum-loi Choi ) 이상근기념사업회 2015 이상근 연구 Vol.1 No.-

With the intent to compose proper Korean traditional art songs, Sang-geun Lee conferred that it is important to find the point of contact between contemporary western music and Korean traditional music. He considered the realization of the Korean music critical to his composition. He thought Korean composers should write pieces that are filled with the souls of Korean people, which only Korean composers can bring into the work. His work centered on his will to write Korean traditional songs that not only possessed the authenticity of the original music, but worldwide universalityas well. The second critical point Lee considered in terms of writing songs is the linguistic aspect related to the communication of lyrics. Since Korean songs are originally based on Korean language, he thought lyrics carried by the traditional rhythm or themelody of Korean music would convey the meaning in the most natural way. In his works, Sang-geun Lee processed the lyrics in a way that the lyric was treated in the Taryeong, the Korean traditional ballad music. This is why there is a noticeably large portion of recitative melody in his songs. There are three main elements that Sang-geun Lee used for the realization of the Korean music: Korean traditional pentatonic system, use of Shigimsae in the singing melody, and the Jang-Dan : a system of beat in Korean traditional music. He does not accommodate the Korean and Western characteristics in an unconditional way, yet he uses the Western compositional techniques as a tool to present Korean emotion in his work. Such uniqueness is consistently expressed from the beginning through the end of his piece. The composer intended the Korean art songs to aim for the globalization of Korean traditional music, not a mere representation or imitation of western music techniques. However, his songs cannot be defined as Korean traditional music completely. Even though his songs contain many of the western contemporary music elements, it does not completely express western music characteristics. Therefore, his songs cannot be drawn on the simple conventional lines of either “Korean” or “modern western”. He argued that “Korean style” is not just being “originally traditional”; it is having possibility for globalization. Therefore he dissolved his individual and unique techniques in his songs, instead of expressing the obvious characteristics of Korean traditional songs to achieve the ultimate goal of his music philosophy. His consistent effort to produce true “Korean music” has been portrayed in this study and was used to prove that his dream of life has come to realize via his music piece. His songs have melted the western modern musical expression into the Korean context creatively and suggest the prototype to define the identity of Korean art songs. Thus his work had opened a new path for Korean art songs to move forward.

Between the Self and the World. Remarks on the Development of the Art Song in the 20th Century: With a Commentary on the Art Songs by Sang-geun Lee

( Wolfgang Rathert ) 이상근기념사업회 2015 이상근 연구 Vol.1 No.-

The Western art song has found its aesthetic identity and artistic battlefield during the rise of the Classical and Romantic eras in the tension and dialectic of “self” and “world”. Beginning with Beethoven and Schubert, 19th century composers like Schumann, Wolf, and Strauss dealt with this dialectic in a refined psychological manner. The rise of the 20th century art song started with artistic “outsiders” like Mussorgsky, Schoenberg, the early Debussy and the American Ives. They transcended the existing semantic and musical limits of the art song, finally resolving the dialectic of “self” and “world” into an individual musical language, which is at the same time fragile and abundant. The essay traces this development and ends up with a short discussion on the place the songs of Sang-geun Lee may occupy in the aesthetics and history of the modern art song.

Meter and Rhythm in Sang-geun Lee`s Songs

( Hermann Gottschewski ) 이상근기념사업회 2016 이상근 연구 Vol.2 No.-

After some thoughts about the development of the Korean art song in the context of art songs of other countries, the usage of irregular meters in Sang-geun Lee`s songs is investigated in relation to Japanese art songs composed from the 1920s until around World War II. It is observed that the addition of a beat to a bar in the sense of a measured fermata or measured retardation, as well as the frequent use of off-beat phrase beginnings in the voice part, are common features in songs of both countries. Even the use of regularly alternating meters like 2/4+3/4 is found in some early Japanese art songs. These compositional techniques are not common in Western art songs and can thus be used to describe the peculiarities of an "Asian branch" of the worldwide art song production. It is argued that the use of irregular meters is mainly due to the struggle for an integration of Asian poetic meters into the framework of Western music, and it developed since the Japanese children`s song movement around 1920.

Korean art song and cultural interactions-Sang-geun Lee and his generation

( Dorte Schmidt ) 이상근기념사업회 2016 이상근 연구 Vol.2 No.-

The aim of this paper as an opening for more specialized discussions on the songs of Sang-geun Lee is to differentiate, if not complicate the image and to propose the historical perspective as a possibility of dealing with songs like these in the context of a global historiography of music. I will try this in three courses: first I will follow the attribution "Korean" and look at nationalization of art in a global world, i.e. a world under the conditions of migration of people as well as concepts and the art works themselves, and consider the tension between universalisms and essentialisms in the genre within this framework. Then I want to look especially at the generation of Sang-geun Lee and their specific relationship to art song, and last but not least I will shortly try to discuss a musical example based on this findings.