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숭고와 역숭고 - 음악이론과 대중음악담론의 접점과 차이 연구 -
조현리 ( Hyunree Cho ) 연세대학교 음악연구소 2019 음악이론포럼 Vol.26 No.2
이 연구는 숭고와 숭고의 역개념인 역숭고 사이의 역동적 상호작용을 탐구하여 음악이론과 대중음악담론 사이의 관계를 새롭게 이해하기 위한 연구이다. 이 연구는 음악적 숭고 개념을 다루는 음악이론과 대중음악담론의 최근 연구를 분석하고, 현재 음악학 담론의 관점에서 칸트의 숭고 개념과 장 파울의 역숭고 개념을 재해석함으로써 음악적 숭고와 역숭고의 이론적, 이념적 성격을 파악한다. 나아가 음악분석을 숭고와 역숭고의 체험으로 재개념화하여 설명하는 과정을 통해 현재의 음악분석의 문제적 측면에 대해 재고하는 한편, 음악이론과 대중음악담론이 음악 자체라는 문제적 대상을 다루는 방식을 비교, 분석함으로써 두 담론의 접점과 차이를 구체화하고자 한다. This paper explores the relationship between music theory and popular music discourse through the study of the dynamic interactions between the sublime and its inverse, the inverted sublime. Analyzing recent works on musical sublime in music theory and popular music studies, and reinterpreting Kant’s notion of the sublime and Jean Paul’s notion of the inverted sublime from the perspective of current musicological discourse, the paper seeks to understand the theoretical and ideological characteristics of musical sublime and inverted sublime. It then reconsiders and critiques music analysis as an experience of sublime or inverted sublime, and delves into the ways in which music theory and popular music discourse deal with the problematic concept of the music itself.
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대안담론으로서의 음악분석: 베토벤의 아일랜드와 스코틀랜드 민요 편곡 다시 듣기
조현리 ( Cho Hyunree ) 한양대학교 음악연구소 2024 音樂論壇 Vol.51 No.-
이 연구는 베토벤의 브리튼 제도 민요 편곡과 음악분석의 상호작용을 활성화하여 음악분석의 새로운 지향을 구체적으로 제시하기 위한 연구이다. 베토벤이 피아노, 바이올린, 첼로의 반주가 있는 연주용 악보로 새롭게 구성한 아일랜드와 스코틀랜드 민요는 서양음악사의 대표적인 정전적 작곡가가 편곡의 방식으로 외국의 비정전적 장르의 음악에 기여했다는 점에서 이례적인 레퍼토리로 간주되고, 예술음악의 주변에 머무르면서 주로 정전적 작품의 구조와 형식에 몰두해온 음악분석과 다양한 충돌을 일으킨다. 이 연구는 민요, 편곡, 베토벤에 대한 기존의 학문적 관념들을 비판적으로 검토하고, 연행과 횡단으로서 존재하면서 협업과 수정, 재편집을 통해 역동적으로 변화하는 음악에 대한 분석적 접근이 획득해야 할 지향과 초점을 탐구한다. 또한 음악분석을 통해, 이 편곡 작품들의 지닌 차이를 정당하게 수용할 수 있는 구체적인 사례를 마련한다. This paper aims to activate the interaction between Beethoven’s British folk song settings and the discipline of music analysis in order to present a new direction for music analysis. The Irish and Scottish folk songs arranged by Beethoven as songs with piano, violin, and cello accompaniment are unique in that they are uncanonic pieces of music arranged by one of the most canonical composers in the history of Western music, who is also a German composer. These folk song settings resides in the periphery of art music, challenging the discourse of music analysis that has focused on the form and structure of canonic works of music. The paper will review academic preconceptions regarding folk songs, arrangements, and Beethoven. It will also explore which kind of orientation and focus should be adopted for an analytical approach to music that exists as performance and as traversing. By analyzing the folk song settings, the paper will also provide cases of music analysis that adequately accommodate the differences in such pieces of music.
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음악적 통사론을 위하여: 음악적 발화에서 나타나는 재귀적 구조와 대칭 관계 연구
조현리 ( Cho Hyunree ) 서울대학교 음악이론연구 2016 음악이론연구 Vol.27 No.-
This paper proposes a new musical syntax in which the foundational concept is recursion and symmetry. It shows how musical structures are generated through a series of recursive asymmetrical merges, and discusses diverse and sometimes mutually incompatible factors that help to determine the asymmetry or hierarchy between musical objects. It also delves into symmetrical relations that coexist with asymmetrical relations in music, and the dynamic interrelationships between the two kind of musical relations. The paper seizes upon the intersections between the minimalist syntax of current linguistics and tonal theory. Especially through the effort to reimagine various Schenkerian insights from the perspectives of syntax, it seeks to understand musical relationships that have been so far almost exclusively the object of music-theoretical discourses, within the broader context of the humanities. While giving a fresh look at Lerdahl and Jackendoff`s influential theory of tonal syntax, this paper also deals with problems of some recent syntactic theories of music influenced by their theory, especially of those presented by scholars outside music theory.
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지구화시대의 조성음악: 탈근대성과 새로운 보편성 사이에서
조현리 ( Cho Hyunree ) 서울대학교 음악이론연구 2020 음악이론연구 Vol.35 No.-
This paper explores the way in which we can understand the concept of tonal music within the context of globalization. Tonality and tonal music have been constantly criticized by postmodernist critics. However, recent music theoretical studies reorganize tonal theory from a more general perspective, or provide some alternative tonal theory by taking a critical stance on preexisting tonal theories. These approaches highlight the activeness and freedom in musical listening rather than trying to control listening from a single unifying principle. The paper seeks to understand the intentionality of Schenkerian theory by observing actual practices of Schenkerian analysis, and to distinguish it from Schenker’s own problematical political ideology. The paper then tries to find a third orientation for present theory of tonal music by criticizing the regional bias of postmodernist studies of tonal music. Ultimately, by seizing upon the concept of universality which has been newly conceived in the context of globalization, this paper tries to provide a new horizon for the study of 21st-century tonal music.
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조현리 ( Cho Hyunree ) 서울대학교 음악이론연구 2021 음악이론연구 Vol.37 No.-
The purpose of this paper is to explore the relation between the ethical environment of the 21st-century and music-theoretical practices. Music theory, as a discipline largely focusing on the construction of musical system and music analysis, has kept its distance from so-called extramusical meanings, of which ethical meanings are a part. Such tendency conflicts with the present ethical environment that emphasizes the ethics of otherness. Music theory’s generalization of music-theoretical systems still entails the exclusion of difference, and music-analytical discourses continue to maintain the primacy of a particular, and biased, principle or methodology. Focusing on the recent critiques of Schenkerian theory, and drawing on Levinas’s ethics of otherness and Spivak’s subaltern studies, this paper seeks to provide a more concrete ethical direction for music-theoretical practices. Ultimately, this paper argues music theory can become a discourse where the ethics of otherness can be realized through its enhanced encounter and interaction with various musictheoretical others.
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