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.

‘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.

패션 주기의 터닝 포인트 분석 : Vogue 1997년과 2002년도를 중심으로

유지헌 ( Ji Hun Yu ) 服飾文化學會 2004 服飾文化硏究 Vol.12 No.3

중국 조선족시문학에 나타난 현실인식과 대응 - 심연수를 중심으로 -

임향란 국제한인문학회 2006 국제한인문학연구 Vol.- No.3

예이츠의 영원미: 모드 곤을 중심으로

진용우 현대영미어문학회 2022 현대영미어문학 Vol.40 No.3

W. B. Yeats’s early poetic material, which mainly comes from mythology, legend, and folklore, enhances the imaginative being, nobility, beauty, and unified images of eternal beauty. His pursuit of eternal beauty hold out coherence from his early poems to his later ones. His early poems “To the Rose upon the Rood of Time,” “The Rose of the World,” “The White Birds,” and “No Second Troy” depict not only passion and beauty but also the eternal beauty of Maud Gonne. In addition, “Leda and the Swan,” one of his later poems, contains a sexual image and represents a view of the historical cycle and civilization. Helen is a personal symbol for Maud Gonne’s eternal beauty.

뮐러, 슈베르트, 바슐라르:《아름다운 물방앗간 아가씨》에서의 물의 이미지

한미숙 서울대학교 서양음악연구소 2017 음악이론연구 Vol.29 No.-

This paper examines the water images in Die schöne Müllerin by Müller and Schubert. In this study I adopt Bachelard's categorization of the water images and his terms used to describe the characteristics of the images in his book(L'eau et les rêves). In the discussion of the individual song, the water images observed in the poem are explained in Bachelard's terms, and then the way how poetic images are represented in Schubert's music is examined. Schubert's water images are mostly in accord with Müller's. But in several songs(nos. 2, 6, 18, 19 and 20) Schubert deviates from Müller by pursuing other series of water images. Although not apparently expressed in Müller's poem, water images highlighted by Schubert are derived from Bachelard's category of 'pure water'(une eau pure), which includes the water for purification, healing, revival and rejuvenescence. Consequently, Schubert's song cycle takes a different path from Müller's. Such images musically created by Schubert reveal his personal and earnest desire to be healed of the fatal disease(syphilis) which he suffered from at that time, and to be released from the difficult and miserable time of his life. 본 논문은 뮐러 시집과 슈베르트의 가곡집 《아름다운 물방앗간 아가씨》에 표현된 물의 이미지를 살펴본다. 물의 이미지 분석을 위해 바슐라르가 『물과 꿈』(L'eau et les rêves)에서 제시한 이미지 계열과 속성을 기술하는 용어들을 적용해본다. 개별적인 가곡의 논의에서 먼저 뮐러 시에 등장하는 물의 이미지를 바슐라르의 용어로 옮겨보고, 슈베르트의 가곡에서 어떤 방식으로 재현되었는지 살펴본다. 필자는 슈베르트가 시집에서의 물의 이미지를 대체로 따르고 있으나, 일부 곡에서(2번, 6번, 18번, 19번, 그리고 20번), 시집과는 다른 계열의 이미지를 구사하고 있음에 주목한다. 특히 가곡집의 후반부에서 차별화된 이미지를 부각시킴으로써 시집과 가곡집은 서로 다른 행로로 진행되며, 따라서 결말의 의미도 달라진다. 즉 슈베르트의 가곡집은 뮐러 시집을 기반으로 하여 다시 쓴 슈베르트의 이야기라고 할 수 있다. 뮐러 시에서는 뚜렷이 등장하지 않으나 슈베르트 가곡에서 강조되어 등장하는 물의 이미지는 바슐라르의 '순수한 물'(une eau pure, 제6장)에서 비롯된 정화된 물, 젊어지는 물, 치유하는 물, 그리고 죽음을 넘어 사람을 살게 하는 물이다. 따라서 가곡집에서 구현하는 물의 이미지는 작곡가의 내밀하고 강렬한 욕구를 반영한다. 가곡집 《아름다운 물방앗간 아가씨》는 당시에 그가 겪었던 인생의 위기인 질병(성병)으로부터 치유되고 새로운 삶을 살기를 바라는 슈베르트의 염원과 희망을 담고 있는 작품으로 본다.