한국 현대음악에 나타난 전통음악적 요소에 대한 분류연구 및 현대적 음향군이론 정립

권순호(Soon Ho Kwon),최승준(Seung Joon Choi),허방자(Bang Ja Hurh),여영환(Young Hwan Yoe),정지영(Ji young Jung),권오연(Oh Yeon Kwon),이혜영(Hye Young Lee),김지민(Ji Min Kim) 낭만음악사 2007 낭만음악 Vol.19 No.4

한국의 현대음악은 서양음악의 수용 이래로 다양하게 발전되어 왔다. 초기 수용의 단계에는 이론적인 수용과 철학적이고 정서적인 면이 강조 된 작품들이 성악곡들을 중심으로 발전 되었고 1950년대 이후에는 수용을 넘어 진정한 현대적 의미의 음악들이 적극적으로 창작 되어 왔다. 한국의 현대 음악은 조성의 부정과 전통적인 정서가 함께 공존하여 발전 하는 형태가 나타난 시기가 바로 1950년대라고 할 수 있다. 김동진의 ‘신창악 운동’을 시작으로 라운영의 ‘한국민족음악의 정립과 토착화,’ 이건용과 제3세대 작곡가들의 ‘민족음악론’ 등 작곡가들의 노력과 가치있는 결실로 오늘날 창작 음악계는 많은 발전을 가져 왔다. 특별히, 1980년대와 1990년대 이후 서양 음악적 소재를 사용하더라도 주체적이고 독창적인 음악관을 가지고 한국의 정체성을 창작 작품에 담아내는 많은 작품들을 작곡하였다. 한국적 정체성을 담을 많은 창작 작품들은 한국의 전통 음악적 소재를 인용 또는 변화 발전 시켜 도입하는 경향을 가진다. 특히 본청-하청의 선율구조는 중심음-상대음의 구조로 발전 되어 한국적 색채감을 드러내고 있으며 5음 음계 구조에서 가장 많이 나타나는 장2도와 완전4도의 화성 구조를 다양한 음악적 배경 속에 도입하고 있다. 리듬에 있어서도 고유한 장단의 사용과 함께 한국적 이미지를 담은 다채로운 리듬형태를 창조하였고 또한, 한국 특유의 즉흥적인 연주의 리듬 또한 창작 음악의 주요한 소재로 사용되었다. 이러한 공통적인 요소들을 중심으로 한국 창작 음악을 논리적으로 해석하고 분석하고자 현대음악이론에 입각한 실제적인 이론화를 시도하였다. 이런 이론화는 실제적으로 창작 활동을 하는 음악가들에게 일반적인 이론 체계로 접근하여 기법화를 실현 시킬 수 있다는 목적을 가지며 또한 많은 이론가들과 음악학자들에게는 창작 작품들이 가지는 예술적 측면뿐만 아니라 음악이 가지는 새로운 학술적 측면을 제시 할 수 있다는 가치를 가진다. Korean contemporary music has been developed from variously musical points of views, since the acceptance of Western music in the late 19th century. In the its early stages of the acceptance, music compositions in Korea took just the theory of Western music and are usually focused on vocal works which are emphasized on emotional and philosophical senses. In the 1950s, there are many compositions composed in the genuine and modern sense beyond simple uses of Western music theory. In the 1950s, it is the time to evolve and coexist both creative contemporary music which got into atonal music and original traditional Korean music. There are many composers and movements of music such as ‘Shin-Changak Movement’ by Dong-Jin Kim, ‘The establishment and nativization of Korean nationalism’ by Yun-Young La, ‘Nationalism Music’ by Gun-Yong Lee and the third generations. They played an important role to make Korean music developed. In particular, between 1980s and 1990s, although most of composers employed various of compositional techniques from Western music, their works based on creative and independent identity. At the research on the actual condition about applications and performances of Korean contemporary music at the concert hall, many works are performed at the public concerts and they are not limited to academic values any more. Performances of Korean contemporary music are getting increased through statistical researches of performances and programs of the major concerts in Seoul and five etropolitan cities between 2000 and 2005 even though a few metropolitan cities still have not enough concerts for contemporary music. The Korean identity of comtemporary music are very important to Korean composers in the 1980s and 1990s. Therefore they have been tried to quote and develop variously Korean traditional music in their works. Especially the melodic structure of the center tone-relative tone derived form the melodic structure of Bon-Chong and Ha-Chong in the Korean traditional music. The important intervals, the perfect 4th and the major 2nd in pentatonic scale which is a primary musical materials in Korean traditional music, became the main material to construct harmony structure. Jangdan is also very important materials from the rhythmic point of view and composers variated the Jangdan in many ways and besides that composers tried to create Korean traditional rhythms based on the improvisations of Korean music. These common facts in music can be established as a compositional theory. This kind of experiment produce a lot of possibilities for both composers and theorists. Practically, this theorization is to get a analytical tool for many kinds of music based on Koran contemporary music. In addition to this, it can be developed as a compositional techniques to express Korean traditional sense of music. Therefore, this kind of attempt has academic value as well as artistic value.

Beethoven String Quartet "Grosse Fuge" B^b Major Op.133에 대한 연구

허방자 淑明女子大學校 1993 論文集 Vol.33 No.-

This article seeks to review the "Grosse Fuge" in B^b Major Op. 133 of Beethoven's string quartets. In his late period, after having completed the Ninth Symphony in early 1824, Beethoven seemingly spent the two and a half years that remained to him writing, with increasing ease, all the five late string quartets. the five late string quartets contain Beethoven's greatest compositions( Op. 127, Op. 132, Op. 130, Op. 131, Op. 135). The string quartet . "Grosse Fuge" was the original fugal finale of Op. 130 in B^b Major. The string quartet Op, 130 B^b Major belongs to the three works in this form which Beethoven. as early as January 1823, intended for Prince Nicholas von Galitizin. The writing of the late quartets was specially stimulated by Galitisin. Because he invited in a letter of November 9, 1822 Beethoven to copose three quartets, for whatever a fee that was thought proper. The three quartets of the five late string quartets are referred to as "Galitizin-Quartets"(Op. 127, Op. 130, OP, 132). These works were dedicated to Prince Nicholas Galitizin. The string quartet Op. 130 was finished in November 1825 and had its premiere performed by Schuppanzigh Quartet in Vienna on March 21, 1826. This quartet consisted of six movements ; and whilst the second movement(Presto) and the fourth(Alla danza tedesca) in the premiere had to be repeated, the finale Fugue, published separately later on as Op. 133, failed in its effect. In the late period style Beethoven began to extend the underlying principles of the sonata style to embrace the entire aggregate of movements of the work. He found his largest movements breaking down into sub-movements with a subssidiary integrity of their own. It proved to be in the quartet Op. 130 quite literally disruptive. He sanctioned in an unprecedented action the removal of the fugal finale after the first performance, and it was issued separately as Op. 133 and in September 1826 provided the quartet with a new finale(Rondo in Allegro). Why did Beethoven compose the "Grosse Fuge" as the role of final of the work? And what a finale? It is very curious. This is certainly one of the classic questions about the late period. the "Crosse Fuge" is a finale, that is the point. The problem is to integrate fugue as a style or principle into Beethoven's wider stylistic world. In deciding to use a fugue as the initial statement of a cyclic composition, Beethoven set himself a new set of conditions. The main interest of the "Grosse Fuge" is thematic transformation, somtimes pursued at the expense of an interest in fugue and an interest in counterpoint itself. The Fugue was a techical preoccupation in his late period. but Beethoven's deepest study. then as always, was the totality. the integrity of the individual work of art.

交響詩 「側線」의 創作意圖와 構成

許芳子 淑明女子大學校 1977 論文集 Vol.17 No.-

This Composition, through its clear and pure effect in sound and color, is an endeavour to present a picture of Korean rhythm and melody. In this Composition, by using the minor melody as the descriptive means, an attempt is made to produce in the listeners a subjective psychological change by means of the sudden achieved by departing from the strict form of traditional Korean Music, and instead consisting in non-harmonies form. The Composition is an attempt to include color and melodic content, stressing dramatic background rather than imaginative poetic content, and stressing strongly expresive note development. This Symphonic Poem is a free Composition formed through the A-B-A' structual form.