「비인 無調樂派」의 精神構造

박정양 安東大學 1985 安東大學 論文集 Vol.7 No.1

The art of sound in Europe has been polyphonic with harmonic sound system. Bach`s Fuge, which was originated form modus form of the Fifteenth century, is considered as the beginning of chromatik in the last phase of the development of harmony. Modern music begins with R. Wagner and the tonality system has changed by A. Schonberg. In this study 1) the three masters` works of wiener Atonale Musik are researched and analyzed from the point of view that the determined the stream of modern music with acutest expression and very important declaration, 2) one aspect of the spirit of occidental music is examined by reviewing the change from the beginning of the art in the end of the century until after the war, 3) and finally a method of dealing music scientifically is suggested.

音樂演奏에 있어서의 Tempo와 Agogik에 關한 硏究

박정양 安東敎育大學 1973 論文集 Vol.6 No.1

It is true that a subject of tempo and agogik in music attaches primary importance to a musical performance. As to the formless things which can not be expressed on a musical note, their composers had aready been dead and they were composed by a subjective view. Therefore, a player, who delivers a composer's intencion, is unable to give a right expression without understanding the historical and basic background in music and is will be difficult to set up a proper tempo. Though there is a metronome, a real and artistic performance can not be displayed without having a skill gn tempo modifier as well as tempo rubat which is well-balanced methodically in music, and this study is intended to solve this problem for the purpose.

음악형식학의 일고

박정양 安東敎育大學 1971 論文集 Vol.4 No.1

Without understanding the form and meaning of Sonata or Symphony, music can not be understood. Music is an expression of human feeling which is accumulated continously and the feeling is multifarious random and free. It will also be changed every moment! Therefore it is natural that there should be a theory that only a form of music can be followed. With a sound arrange disordered, it can not be understood by the hearer and music should be the one which was sympathized with others and structured to make others understood it. To contact with the substance of music, the form of music should be understood and it might well say that the form of music is the right meaning of it. It is necessary that a common musician and the experts of music should understand it. Therefore the writer intended to find the essential of music by analyzing the form of music.

韓日 音樂敎育의 變遷의 比較硏究 : 初·中·高敎를 中心으로

박정양 安東大學 1983 安東大學 論文集 Vol.5 No.1

Korea and Japan have formed their common or its own music culture influencing each ether through their long conta ct which once was maintained in an unfortunate relationship fo enmity but that now has in more agreeable state of friendly neighbors since Korea Liberation in 1945. Both nations have common backgrounds of music development: while the two nations received Western music influence and implanted it in their school education, they have been relatively careless for their traditional music. That`s why the two nations are trying newly to preserve and develop their own music. The purpose of this study is to compare the development of music education in the two nations int he whole context of world. I hope this study will suggest a desirable direction for future music education in Korea.

C.A.Debussy의 Poissons d`or 을 中心으로 한 그의 피아노音樂과 演奏技術의 硏究

박정양 安東初級大學 1978 安東初級大學 論文集 Vol.1 No.1

The modern history of music begins with impressionistic music, which brought a new era in the history of music, changing the theory of music applied since the days of Baroque. The functional harmony systematized for the past three hundreds years comes to an end and a study on the new world of sound has been made. The essential quality of Debussy`s impressionistic music is the world impression movable in each moment, and Debussy introduced the technique of painting of impressionism in music. Just as the painter gives importance to color and dark instead of clear lines in the painting of impressionism, so in the music of impressionism melody is not so important, but tone is in terms of fantasic, subjective description, and it should De treated as sensual. Debussy put behind him the structure of sound in the scale major minor, the key in the heptanic scale, and tertian chord, and adopted the followings: many kinds of consecutive chord, interval consecutive, scale diatonic, scale pentatonic, middle modes, fourth chord, added fourth, added sixth, the consecutive 7th of fifth chord of omission third, the parallel of 9th. This kinds of devices make the music of Debussy more charming and wonderful and the fascination of his sensual music is outstanding in the history of music. In piano music, the art of playing developed through Beethoven`s chopin lists is much more improved by his devices. He composed a number of piano music which indicates his own style. And the player who is only familiar only with the classic, romantic should learn about his particular notation in order to adapt to his new idea and tone. We find his new technique of harmony in Reflects dan`leau and Poissons d`or and we can learn about his art of playing by examining on Poissons d`or in connection with the study on the historical background of Debussy`s music.

Bach의 Invention을 중심으로한 Piano지도법의 일고

박정양 安東敎育大學 1972 論文集 Vol.5 No.1

Bach's Etliden which had once been neglected in playing piano has become an indispensable one for the piano teachers and learners today. Bach's invention of counterpoint of polypliony against homophony is confronted by a characteristic of expression for the way of the petal usage, fingerline and ornament in piano teaching. Therefore, this writer intends to study, reexamine and comfirm this problem, to teach the playing piano better and support the theory and ability to play Bach's works in addition to his invention.

遊戱와 藝術의 演奏論的 考察 : 演奏의 美學

박정양 安東大學 1986 安東大學 論文集 Vol.8 No.1

Play and art have much similarities both in their forms and the experiences they give us, and many aesthetic studies have been done on their relation. It is true that there are much in common between art and play because many elements of play are mixing in artistic behavior. The purpose of this study is to define the similarities and the differences between them and to illuminate the aesthetic problems of musical performance as an artistic behavior.

音樂的 時間論 : G.Brelet硏究

박정양 安東大學 1987 安東大學 論文集 Vol.9 No.1

G. Brelet has established the aesthetic time theory in this century with her epochal thesis "Le Temps Musique". She is the one who represents modern aesthetic time theory. G. Brelet`s theory of the musical time is summerized as follows: In music there is an independent musical time apart from the physical time which is created by music itself in which we feel the vitality of life. The vitality of life makes us experience the musical time which is actual, latent and exists as a form of pure durance (Duree Pure). The musical time is the metaphysical essence of time. It is perceived as the present-living time which is einmalig and exists as an act. Because the musical time has an act, music is considered as an art of time. Brelet has tried to define the qualities of the independent time of music based on Husserl`s philosopihcal time of theory and Bergson`s inner-durance time theory. The purpose of this study is to draw the conclusion of Brelet`s aesthetic time theory by researching her writings including her major thesis "Le Temps Musique" with the philosopher`s theories of time and existence as the foundation of her theory.

음성학상으로본 아동발성의 원리와 지도기술

박정양 安東敎育大學 1971 論文集 Vol.4 No.1

As it is considered that the vocal organ and phonetic condition for children differ from those for the adult, it seems that there is no way to guide the children's voice Generally, it seems that the Korean children are apt to sing loudly through the strong breath voices. Every young child should never be allowed to sing loudly until their voices have been drilled, considerably or the fine quality of their tones will be soon disappeared. Year by year, hudreds of the portentially nice voices are sacrified by the juggernaut of the hearty and natural singing. Especially, in the case of boys, as all their voices have been shouted loudly without exception and the lower register is used hard, the voices, which could be quided well by their soft singing from childhood, have been crubed to that extend as there is no room to recover it. Understanding the theory of guiding for children's voices and trying to make better voice, the instructors of music should inquire into the principle of the phonetic, physiological and vocal condition and have confidence of teaching music.

음악교육의 심리학적 일연구

박정양 安東敎育大學 1968 論文集 Vol.1 No.1

There are many met arials on the psychology of music education which are interesting and valuable for musice ducation, but most educators of music are ignorant of them. It is not the fault of the educators, but because the materials are inconvenient to use. The present situation is that the the theses and reports studied on the psychology of music education can be found only in the foreign library, and also that they can not be understood without both musical taste and foreignlanguage ability since the material is written in English. The ultimate purporce of the psychology of music education can not be understood because it`s literature is fragmentary. It should berevised and put into some coherent order. As indicated briefly by the practical and interesting way in this area, it will be the materials of music education for the music teachers on the spot. Even though the music class is conducted with excellent planning it can not bring an aspect of certaintywithout some background in psychology. And this background in psychology is equally important as the basis for any critical analysis of teaching meuhods and planning. In the past, the materials to be selected by the music teacher were cho sen from psych logy mattersat the neglect of the psychologycal aspects. The harmony of music and science, the instruments and the contentsof music performance must be reexamingd from a point of view in keepin with the true existance. Therefore this paper was intended to study by experment the relation of music ability with other abilities, music quality, musictype common tendency of music, tonedeafness and so on.