17세기 자동 음악 작곡 방법론에 대한 연구: 키르허의 ‘Arca Musarithmica’를 중심으로

박은지 (사)음악사연구회 2022 음악사연구 Vol.11 No.0

17세기 독일 태생의 예수회 성직자이자 이론가, 과학자였던 아타나시우스 키르허(Athanasius Kircher, 1601-1680)는 1650년 『보편 음악론』(Musurgia Universalis, 1650)을 출판했다. 이 책은 고대에 이어 동시대 음악에서의 수학적 이론을 끌어낸 개요서로 평가된다. 키르허는 이 책에서 조합론을 사용하여 작곡의 과정을 도와주는 기계 장치인 '아르카 무사리드미카'(Arca Musarithmica)를 제안했다. '아르카 무사리드미카'는 과거 언어학에 대한 방대한 지식이 있었던 키르허의 음악적 사고를 바탕으로 만들어진 것으로, 최초의 자동 음악 작곡 장치 중 하나로 볼 수 있다. 키르허는 '아르카 무사리드미카'를 통해 음악을 모르는 이들도 쉽게 작곡을 할 수 있는 방법을 고안했다. 키르허의 자동 음악 작곡 장치는 간단한 조합적 기술을 통해 수백만 개의 4성부 음악을 만들어 낼 수 있었다. 장치는 오늘날의 컴퓨팅 기술인 AI 음악 방법론의 초석이 된다는 의미에서 주목할 만한 역사학적 가치를 지니고 있다. 본 논문은 키르허의 저서 『보편 음악론』에서 등장한 '아르카 무사리드미카'의 음악적 원리를 정리하고 기계 장치의 사용흔적을 추적하여 역사적 가치를 조명하고 분석한다. Athanasius Kircher (1601-1680), a 17th-century German-born Jesuit priest, theorist, and scientist, published Musurgia Universalis in 1650. This book is an overview of drawing on mathematical theories from ancient and contemporary music and dealing with them along with health and rhetoric. In this book, Kircher proposed Arca Musarithmica , a device that uses combinatorics to help the process of composition. ‘Arca Musarithmica’ was created based on the musical thinking of Kircher, who had extensive knowledge of linguistics in the past, and can be seen as one of the first automatic music composition devices. Through this device, Kircher devised a method with which even those who do not know music can compose easily. ‘Arca Musarithmica’ could create millions of four-part music through a simple combinatorial technique. Moreover, the device also has notable historical value in that it lays the foundation for today's computing technology, AI music methodology. This paper organizes the musical principles of ‘Arca Musarithmica’, which appeared in Kircher's book Musurgia Universalis , and illuminates and analyzes the value by following its historical traces.

예수회 원근법 교육의 신학적 함의 - 안드레아 포초(Andrea Pozzo)의 작품을 중심으로

김지인(Jean Kim) 한국기독교학회 2021 한국기독교신학논총 Vol.120 No.-

본 연구는 17세기 예수회 화가였던 안드레아 포초의 예술작품을 예수회 원근법 교육의 신학적 연관성 속에서 고찰하였다. 첫째, 포초 시대의 자연과학과 예술적 콘텍스트를 살펴보고 포초의 예술작품과 저서의 내용과 형식을 분석했다. 포초는 지구 중심설의 대두와 같은 천문학적 변화와 당시 키르허의 광학적 실험과 당대 왜상화법의 영향을 받았다. 둘째, 예수회가 신앙적, 교훈적 내용을 극적으로 전달하고 교육하기 위해 극적 무대장치를 제작하게 하고 원근법을 교육하고 장려했던 상황 속에서 포초가 작품을 제작했음을 살펴보았다. 셋째, 포초의 예술작품이 지닌 예수회 신학적 관점을 분석했다. 본 연구는 국내에서는 처음으로 안드레아 포초의 예술작품과 저서를, 원근법을 교육했던 예수회 예술 신학적 관점에서 소개했다. 오늘날 개신교회의 예배 가운데서 예술이 차지하는 역할이 증가하는 가운데서 개신교의 이미지에 대한 기존의 신학을 재고찰해볼 필요가 있다. This paper sees artworks of Andrea Pozzo(1642-1709) in relation with the Jesuits’ ‘perspective’ education and its theological implications. First, this paper looks into the natural science and artistic context of the contemporary era of Pozzo and analyzes the content and format of his artworks and books. Pozzo was influenced by the astronomical changes, such as the appearance of the geocentrism, and also by Kircher’s optical experiments and contemporary art of anamorphosis. Second, this paper sees the Jesuits’ context of Pozzo’s anamorphic artworks, in which the Jesuits tried to educate their students on the perspective through producing dramatic stages as a means of rhetorical religious education. Third, the Jesuit’s theological views in Pozzo’s artworks are analyzed in this paper. This research is the first one in Korea to introduce the art works and books of Pozzo, from the perspective of the Jesuit art theology that highlighted the perspective in their education. This paper suggests that reconsideration of the existing art theology on the image of Protestantism is necessary amid the role of art in the worship of Protestant churches are increasing nowadays.

논문 : 사물문자로서의 중국문자 아타나시우스 키르허의 중국문자 이해

김남시 중국어문학회 2010 中國語文學誌 Vol.33 No.-

This paper deals with the Western views of Chinese characters, focusing on the theory of Athanasius Kircher (1602-1680), who represented one of the two main discourses on the origin and nature of chinese character. Since 1255 Wilhelm von Rubruk (1215-1270) first introduced Chinese characters to Europe, the Chinese written language has generally been viewed as a naturalistic representation of things, close to visual images (pictographs) or as a means of conveying ideas (ideographs), unrelated to spoken language. Under this assumption it was discussed as the possible universal language, enabling people understand each other with written language regardless of thier different speakings. As the written language with the picture of the things, it was cosidered to be in relation with the egyptian hieroglyphs, which had been thought as the symbolic and allegorical thing-characters since 15th century in Europe. Athanasius Kircher, the great egyptomania of the baroque time, regarded the chinese Character as the imitate follower of egyptian Hieroglyph, which should have been handed down to the the chinese emperor from Ham, the second son of Noah. While the picture of things in Hieroglyph refers to the invisible Archetypus, says Kircher, the picture of things in chinese character relates direct with the things drawn in character. He argues, the chinese character is the secularized version of Hieroglyph, which has lost its mystic and spiritual dimension and degraded to the mere communicative means.

표현주의 화가들의 자화상에 나타난 상징성에 관한 연구

김정아 유럽문화예술학회 2014 유럽문화예술학논집 Vol.5 No.1

To understand the art belongs to the age everyone shoud know the internal situation and social background of the age and accept changes of values of that time, and applicate a novel measurement of recognition to it. The expressionism starting during the first and second W orld War around Europe has been understood as a special art movement in the fields of formative art. Expressionist had been tried to express a spiritual and internal impression in their drawings and focussed their eye-sight to the internal from the external things and to the spirit from the nature during social turmoil. Therefore, expressionist had simplified the colour, exp10red the visual p1atness‘ and distorted and changed morphology as a formative creation in their expression of emotion of dissatisfaction, desire, deep repent, fear, destruction, and mental disease through their self-portraits. Self-portraits is a mediator to read the authors ’ background of life, the method of life responded to surrounding environments, even the personal character and psychological condition. In addition, they have been become a free area of depicts of external characteristics as well as trial of new formative method, and they were a1so used as means 0 exp10ring new style. In the present thesis, it was compared and analyzed their works of Edward Munch and Ergon Shi1ele, in which they depicted self-portraits of self-exploring through consciousness and unconsciousness world, and the works of Emst Ludwig Kirchner in which he drawed the general self-and time-portraits in special situation, not in an individual person. Particularly, it has approached to find a unique symbolism which can be theoretically defined to distinguish color, line, and form, as basic elements of painting. The colour was no longer connected to a real phenomenon of objective and only freely displayed according to the wills of authors and its proper symbolism was intemalized in unconsciousness and allusively expressed in their works. In the line and from, human intemal experiences were expressed by their extemalization through a extemporaneous and instinctive sense. Accordinglγit was recognized that instinct and knowledge were appeared in the same form in a formative language and a concept of color. As it was founded on the basis of intemal inevitability to accomplish the best style of expressionism, the self-portraits of intemal inquiry by expressionists have been provided the present researcher, a portraitist, with a forward-direction of art in the aspects of quality and contents, Thus, the comtemporary paintings shoud accept the symbolism in the self-portraits of expressionists and further advance to an aesthetic goal through deep introspection and worthful exploration on the structural visual language and symbolism, throughly based on the spirit of quality.

논문 : 서양인에게 비친 중국문자 -키르허의 인용을 중심으로

염정삼 중국어문학회 2010 中國語文學誌 Vol.33 No.-

This paper aims to clarify the original data in China Illustrata(1667) written by Athanasius Kircher (1602-1680), who represented one of the two main discourses on the origin and nature of chinese character. According to Lundbaek(1983), the Chinese characters introduced by Kircher in his book(1667) are identified with them of Wanbaoquanshu 萬寶全書, which was a very popular encyclopedic dictionary made in China in Ming 明 dynasty. Going one step forward, this paper have compared the contents of Wanbaoquanshu with Weixu韋續`s Mosou 墨藪 written in Tang 唐 dynasty about the origin and contents of the characters. In conclusion I have demonstrated that they have basically similar explanation of origins of Chinese characters. In the history of theoretic explanations of Chinese characters, these interpretations were originated from Xushen 許愼`s Shuowenjiezi 說文解字 in Han dynasty and transformed day by day as like YuYuanwei 庾元威`s Lunshu 論書 in Liang 梁 dynasty and Xuanheshupu 宣和書譜 in Song 宋 dynasty.

과학혁명기와 근대 이행기에 표출된 서양예술음악의 사상과 이론: 사변과 과학의 공존

박윤경 ( Yoon Kyung Park ) 세계음악학회 2015 음악과 문화 Vol.32 No.-

This thesis considers the relationship between music and science during the 17th century, the period of which is characterized as the term "the Scientific Revolution". In the chronology of music history, Baroque music has been cultivated by both speculative tradition and more practical empiricist approach. Based the situation of the coexisting old and new perspectives, I attempted to consider music in association with the contemporary scientific field. I maintain my focus on the contemporary empiricist approach and scientific development especially in acoustics and astronomy, and on the influence of the coexistent tendency of traditional and progressive methodology. Therefore I aim to investigate the concept of modernity and a change of way of thinking in the fields of music and science of the transitional period.

최초의 영상기구, 카메라 옵스쿠라의 문화사적 의미

이상면 한국영상문화학회 2010 영상문화 Vol.0 No.16

18세기 유럽인의 중국 인식과 시각이미지의 변화

최경현(Choi, Kyunghyun) 한국미술사학회 2020 美術史學硏究 Vol.305 No.305