슈만의 피아노연곡에서 보여지는 다양한 악곡 유형

배재희 연세대학교 음악연구소 2010 음악이론포럼 Vol.17 No.-

Schumann`s piano cycles arguably constitute his most original contributions to piano literature; he is usually regarded as the inventor of the piano cycle. For many years, scholars did not recognize the special features of Schumann`s piano cycles and, as a result, subsumed them into several other genres. Piano cycles differ in significant ways from suites, variation sets, program music, or multi-movement pieces, even though the criteria for distinguishing them remain unclear. Although recent studies broaden our understanding of Schumann`s cycles, these studies have not sufficiently filled the obvious gap in our knowledge. One of the difficulties of studying Schumann`s piano cycles is articulating what features make cycles different from pieces with similar arrangements. This paper proceeds in three parts. In the first part, I explore how musicians have perceived and described Schumann`s cycles, and how Schumann`s cycles differ markedly from pieces with similar arrangements. After surveying relevant theoretical studies, I develop a classification scheme that sorts the cycles in several different categories, in order to avoid the confusion inherent in comparing pieces from distinct categories. In the last part of this study, I try to demonstrate the relationship between three types of Schumann`s piano cycles and Romantic literature. In the process, I include detailed analyses of some individual movements from Schumann`s piano cycles.

슈만의 피아노연곡에 나타난 단편성과 연속성

배재희 ( Jae Hee Bae ) 이화여자대학교 음악연구소 2006 이화음악논집 Vol.10 No.2

본 논문은 낭만연곡의 이론적 고찰과 실제 곡의 분석을 통한 피아노연곡의 단편성과 연속성을 연구하는 것을 그 목적으로 한다. 논문은 크게 세 부분으로 나뉘어 진행되며 그 순서는 다음과 같다. 첫 번째 부분에서는 낭만연곡에 관한 일반적 정의에서 시작하여 코마 이후 지난 40여년 간 진행된, 낭만연곡을 하나의 장르로 인정하고 정의하고자 했던 일련의 연구들을 정리하고자 한다. 이를 통하여 낭만연곡에 관한 기본적인 정의, 개념, 인식의 변화 및 낭만연곡을 이론적으로 어떻게 정의할 수 있는지 살펴보게 될 것이다. 두 번째 부분에서는 슈만의 피아노 연곡에서 보이는 일반적인 특징 및 이의 분류 등이 연구될 것이다. 슈만의 피아노연곡은 구조적 종지의 부재 또는 조성적 모호함 등으로 인해 개별악장의 단편성을 보이게 되며 이러한 개별악장의 불완전함은 연속되는 인접악장과의 국소적인 연결을 가능하게 함으로써 전체 연곡의 순환 구조를 가능하게 한다. 논문의 마지막 부분에서는 슈만의 「카니발」(Carnaval), Op. 9의 분석을 통해 피아노연곡의 개별악장이 연곡의 구성요소로서의 존재하게 하는 단편성 및 인접 악장들 간의 국소적 연결을 가능하게 하는 연속성에 관하여 연구할 것이다. Musicians have long recognized that certain pieces of music are organized as cycles, but it is far from clear exactly what this cyclical organization consists of. Musical cycles are usually characterized as distinct from suites, variation set, or multi-movement pieces, but no satisfactory criteria for distinguishing these types of pieces have ever been proposed. Cycles display a special kind of unity or coherence though suites and multi-movement pieces are also unified and coherent. So what is this special kind of unity displayed by cycles? The problem is complicated by the historical fact that the first cycles were collections of songs. Only in the 1830s do cycles of purely instrumental pieces begin to appear, primarily in the music of Schumann. Song cycles present special problems for the analyst in terms of their formal organization, but also display unifying factors not available to purely instrumental cycles; the texts of successive songs often suggest narrative paths through song cycles. Comparable analytical strategies for instrumental cycles are more difficult to establish. This paper studies the nineteenth-century cycle in general and Schumann`s Carnaval, opus 9, in particular. My study proceeds in three parts. In the first part, I thoroughly investigate the origins and development of cycles by surveying selected sources of cycles. I then survey scholarly studies from different trends of studies. In the second part, I identify organizational criteria for different kinds of piano cycles that are found among the works of Schumann. In the third part of this study, I try to demonstrate how the individual songs fit into the whole. My study mainly examines two aspects of Schumann`s Carnaval: Features of the structure of the individual movements, fragment, and local continuity between adjacent movements, continuity. It is the unusual nature of the forms of the individual movements that suggest that they are not complete and isolate musical works, but parts of a larger whole. Because of the lack of closure or tonal ambiguity, some movements show fragmentary character and these movements combine with adjacent movements that then project strong local continuity that influences the overall structure. My intention of this study is to discover any unusual or striking characteristics of the individual movements that might relate to their being members of a cycle.

슈만의 피아노연곡에 나타난 단편성과 연속성

배재희 이화여자대학교 음악연구소 2006 이화음악논집 Vol.10 No.1

본 논문은 낭만연곡의 이론적 고찰과 실제 곡의 분석을 통한 피아노연곡의 단편성과 연속성을 연구하는 것을 그 목적으로 한다. 논문은 크게 세 부분으로 나뉘어 진행되며 그 순서는 다음과 같다. 첫 번째 부분에서는 낭만연곡에 관한 일반적 정의에서 시작하여 코마 이후 지난 40여 년간 진행된, 낭만연곡을 하나의 장르로 인정하고 정의하고자 했던 일련의 연구들을 정리하고자 한다. 이를 통하여 낭만연곡에 관한 기본적인 정의, 개념, 인식의 변화 및 낭만 연곡을 이론적으로 어떻게 정의할 수 있는지 살펴보게 될 것이다. 두 번째 부분에서는 슈만의 피아노 연곡에서 보이는 일반적인 특징 및 이의 분류 등이 연구될 것이다. 슈만의 피아노연곡은 구조적 종지의 부재 또는 조성적 모호함 등으로 인해 개별악장의 단편성을 보이게 되며 이러한 개별악장의 불완전함은 연속되는 인접악장과의 국소적인 연결을 가능하게 함으로써 전체 연곡의 순환 구조를 가능하게 한다. 논문의 마지막 부분에서는 슈만의 「카니발」(Carnaval), Op. 9의 분석을 통해 피아노연곡의 개별악장이 연곡의 구성 요소로서의 존재하게 하는 단편성 및 인접 악장들 간의 국소적 연결을 가능하게 하는 연속성에 관하여 연구할 것이다. Musicians have long recognized that certain pieces of music are organized as cycles, but it is far from clear exactly what this cyclical organization consists of. Musical cycles are usually characterized as distinct from suites, variation set, or multi-movement pieces, but no satisfactory criteria for distinguishing these types of pieces have ever been proposed. Cycles display a special kind of unity or coherence though suites and multi-movement pieces are also unified and coherent. So what is this special kind of unity displayed by cycles? The problem is complicated by the historical fact that the first cycles were collections of songs. Only in the 1830s do cycles of purely instrumental pieces begin to appear, primarily in the music of Schumann. Song cycles present special problems for the analyst in terms of their formal organization, but also display unifying factors not available to purely instrumental cycles; the texts of successive songs often suggest narrative paths through song cycles. Comparable analytical strategies for instrumental cycles are more difficult to establish. This paper studies the nineteenth-century cycle in general and Schumann's Carnaval, opus 9, in particular. My study proceeds in three parts. In the first part, I thoroughly investigate the origins and development of cycles by surveying selected sources of cycles. I then survey scholarly studies from different trends of studies. In the second part, I identify organizational criteria for different kinds of piano cycles that are found among the works of Schumann. In the third part of this study, I try to demonstrate how the individual songs fit into the whole. My study mainly examines two aspects of Schumann's Carnaval: Features of the structure of the individual movements, fragment, and local continuity between adjacent movements, continuity. It is the unusual nature of the forms of the individual movements that suggest that they are not complete and isolate musical works, but parts of a larger whole. Because of the lack of closure or tonal ambiguity, some movements show fragmentary character and these movements combine with adjacent movements that then project strong local continuity that influences the overall structure. My intention of this study is to discover any unusual or striking characteristics of the individual movements that might relate to their being members of a cycle.

슈만의 「크라이슬래리아나」 Op.16에서의 순환적 형식 구조에 관한 연구

배재희 ( Jaehee Bae ) 한양대학교 음악연구소 2004 音樂論壇 Vol.18 No.-

Robert Schumann composed nearly all of his significant piano works in the decade from approximately 1829 to 1839. The majority of these exemplify traditional formal types, including three sonatas, three sets of variations, two sets of etudes, several independent pieces, and a number of collection of pieces. However, several of Schumann’s most well-known works from this period, the so-called "piano cycles," have no real precedent among works by earlier composers. In researching the literature on cycles, I have found no detailed analytic approaches focusing on Schumann’s formal organization in his cycles. Music historians and theorists often dismiss the importance of formal consideration in Schumann’s cycles and postulate that Schumann instinctively juxtaposed individual pieces to form a collection without much coherent organization. I, however, suggest that Schumann's cycles result from preconceived plans that govern overall tonal structure and control the formation of details, relating them to a larger context. I also suggest that Schumann's piano cycles can be divided into three types: 1. Works such as Camaual, Op. 9, in which many brief pieces are linked by a large-scale coherent key scheme, recurring motives, and referential tonalities. 2. Compositions like Kreisleriana, Op. 16, in which the individual movements are lengthier than in those of the first type, and for the most part display conventional forms. This type of cycle consists of fewer movements, and often suggests a conventional multi-movement arrangement such as might be found in a sonata. 3. The third type contains only three works: the Arabeske, Blumenstuck, and Humoreske. This third type is a hybrid of the first and second types; there are fewer numbers of movements, as in type 2; but these movements are relatively shorter, as in type 1. The third type, furthermore, has other special features; these cycles are thematically unified throughout and in some respects suggest a long single movement with well-defined sections (for example, a Rondo). With these two suggestions, the third part of my study investigates how unity is supported on multiple levels in Schumann’s Kreisleriana. My methodology involves the following procedures: 1. Aspects of harmonic features: Important harmonic events and keys of upcoming movements are prepared and anticipated in preceding movements. And the presence of many harmonically open structures facilitates the establishment of strong local connections between sections and movement of Kreisleriana. 2. Principles of formal design including the relationships between the form of individual movements and the cyclic role within cycle.

슈만의 피아노연곡에서의 이중 조성구조

배재희 한국서양음악학회 2010 서양음악학 Vol.13 No.1

Many movements from Schumann’s piano cycles have open-beginning structures and open-ended structures. There is no doubt that these open structures facilitate the nature of local connection and further unify the individual pieces to create a larger context. Unfortunately, open structure does not simply translate to a missing tonic chord at the beginning or end of the piece. It implies a structural meaning, in which the tonal definition of a piece is weakened in some way and influences or is influenced by the entire form of each piece. In this study, I explore the paradoxical nature of the Romantic fragment (complete and yet not complete), and examine the special features of Schumann’s piano cycles, in particular the fragmentary character of the individual movements as a primary component of piano cycles. The analysis of individual movements presented in this study supports the fragmentary character resulting from the ambiguous tonal shape which is based on relative mode relationships. The characteristic harmonic progression resulting from the tonicization of the relative mode may occur both in local level progressions of individual movements and large-scale tonal progressions. In small-scale events, it can be used as a common-tone relationship between tonic and relative modes through the reharmonization of a melodic line or an enharmonic relationship. In the large-scale progression, the tonicization of the relative mode not only reflects local harmonic events, but it also influences the tonal and formal shapes of the given movement.

<슈만> 특집 : 슈만의 피아노 싸이클 《환상소품집》에서 나타나는 조성적 연관성: 대립 VS 응집

안소영 ( So Yung Ahn ) 서울대학교 음악이론연구 2006 음악이론연구 Vol.11 No.-

‘낭만적 아이러니’를 중심으로 한 슈만 피아노연곡 <Carnaval Op.9>의 음악-문학적 조명

주성희(Sung-hee Chu) 한국음악교육공학회 2021 음악교육공학 Vol.- No.49

본 논문은 슈만의 피아노연곡에 나타나는 문학적 양상에 대하여 당대의 미학적 개념이자 창작원리인 ‘낭만적 아이러니’에 초점을 두고 접근함으로써 새로운 해석적 지평을 열고자 하였다. 슐레겔에 의해 정립된 ‘낭만적 아이러니’의 개념은 의도된 혼란을 통해 진의의 효과적 전달을 도모하는 창작의 태도 및 문학 기법으로 구체화 되었으며 <Carnaval Op.9>에서 인식되는 산만함, 혼돈 및 모호성 등이 다양한 측면에서 ‘낭만적 아이러니’와의 접점을 형성하는 것으로 나타났다. 이러한 문학기법의 차용은 작품에 내재된 작곡가의 의도를 부각시키는 효과적 장치로서, 작품을 바라보는 관점과 태도를 새롭게 구성함으로 해석에 다양성을 부여하는 역할을 한다. 본 연구를 통해 슈만 작품의 가치를 단편적인 시각에서가 아닌, 진보적이고 혁신적인 예술적 시도와 창조성 측면에서 되새겨보고 나아가 낭만주의 예술이 추구하였던 미학적 본질에 대해 사유하는 기회가 되길 바란다. This thesis aims to open a new horizon of interpretation for the literary aspects of Schumann’s piano cycle by taking the approach of focusing on ‘Romantic irony.’ which is the aesthetic concept and creative principle of the time. Established by Schlegel, the concept of ‘Romantic irony’ was realized as a creative attitude and literary technique that promotes effective communication of real intention through intentional confusion. It was also found that the excursiveness, chaos and ambiguity recognizable in Carnaval Op.9 form contact points with Romantic irony in various aspects. As an effective device that highlights the composer’s intentions inherent in the work, the borrowing of this literary technique plays the role of newly constructing perspective and attitude toward the work and granting diversity to interpretation. It is hoped that this study occasions the opportunity to ruminate the artistic value of Schumann’s music not from a fragmentary perspective but in terms of his progressive and innovative artistic attempts and creativity, and to further think about the aesthetic essence pursued by romantic art.

차이콥스키 《사계》에 나타나는 슈만의 흔적

소라영 ( So Rayoung ) 전북대학교 예술문화연구소 2022 예술과 문화 Vol.2 No.0

차이콥스키(Pyotr Ilyich Tchaikovsky, 1840-1893)는 독일 낭만 음악의 기법들을 작품 안에서 즐겨 사용했는데 특히 슈만(Robert Alexander Schumann, 1810-1856)의 음악 스타일이 그에게 많은 영향을 준 것으로 보인다. 차이콥스키의 피아노 작품 가운데 《사계》(The Seasons, Op. 37a)는 구조적, 형식적, 작곡기법적 측면에서 슈만과의 유사성이 잘 드러나는 작품이다. 연주자의 관점에서 보았을 때 《사계》는 슈만의 《어린이 정경》(Kinderszenen, Op. 15)을 떠오르게 하는 부분이 많다. 본 논문에서는 차이콥스키의 《사계》와 슈만의 《어린이 정경》의 일부 곡들을 비교함으로써 차이콥스키의 음악 속에서 슈만의 흔적이 어떻게 드러나는지 살펴본다. 《어린이 정경》과 《사계》의 음악적 비교를 통해 본 연구는 전체구조, 화성 진행, 음악의 전개 방식 등을 통해 차이콥스키가 슈만으로부터 받은 영향을 규명한다. 이렇게 두 작품을 비교하는 과정에서 차이콥스키가 슈만의 음악을 읽어내고 재해석한 방식을 파악할 수 있다. 연주자의 관점에서 느껴지는 차이콥스키 음악과 슈만 음악의 유사성을 학문적으로 설명함으로써 슈만의 음악이 차이콥스키의 창작에 끼친 영향의 의미를 조명해 본다. Pyotr Ilyich Tchaikovsky (1840-1893) often employed the techniques of German Romantic music, with the musical style of Robert Alexander Schumann (1810-1856) as a particularly significant influence. Among Tchaikovsky's piano works, The Seasons Op. 37a is similar to Schumann’s Kinderszenen Op. 15 in terms of structure, formality, and compositional technique. Particular from the perspective of the performer, the Seasons invokes similarity to Schumann's Kinderszenen. This paper examines how Schumann's traces are demonstrated in Tchaikovsky's music by comparing some work from Tchaikovsky's The Seasons and Schumann's Kinderszenen. Through a musical comparison of Kinderszenen and The Seasons, this study inspects the influence of Tchaikovsky from Schumann through the overall structure, the harmonic progression, and the music development method. In the process of comparing these two works, it’s been clarified how Tchaikovsky reinterpreted Schumann's music. By scientifically explaining the similarities between Tchaikovsky's music and Schumann's music from the performer’s viewpoint, this paper spotlights the significance influence of Schumann's music on Tchaikovsky's creation.

쇼팽 연습곡 op. 10의 3부분 형식과 조성의 3차적 배열

이은나 ( Eunna Lee ) 한양대학교 음악연구소 2006 音樂論壇 Vol.20 No.-

Chopin’s Etudes, op. 10 is one of the most representative collections in the age of Romantic music. This etude consists of twelve works that are independent with key and tone arrangements and music contents in terms of traditional tonal harmony. However, it is doubtful that the collection truly consists of twelve works because of the irregular arrangement of the works according to the year of creation and of key and tone arrangements consisting of mostly three note scales. Eventually it shows that there is a symmetry between horizontality and verticality through an analysis of Neo-Reiamannia theory and set-theory. This symmetry reveals that eleven of the works are all ternary forms and shows that those works are cohesive in three dimensional ways. Finally, Chopin’s Etudes, op. 10 is unity flows from a coherent tonal and formal organization. Chopin was a master of small forms. And his etudes have accomplished the unification between music form and tonal system in his works.