누구의 목소리인가?: 말러의 성악작품을 중심으로

권송택 ( Song Taik Kwon ) 서울대학교 서양음악연구소 2016 음악이론연구 Vol.26 No.-

본 연구는 근래 들어 부쩍 활발해진 포스트모더니즘적 다양성을 읽어내는 말러의 해석학적 연구들을 이해하기 위한 기초 작업이라 할 수 있다. 다양한 목소리의 실체와 말러의 의도를 파악하는데 구체적인 도움을 줄 수 있는 그의 성악음악을 통해 이 연구에서는 하나의 곡에 존재하는 여러 페르소나와 목소리들의 의미를 찾아내었다. 여기에서 논의될 곡은 《탄식의 노래》(Das klagend Lied )와 《소년의 이상한 뿔피리》(Des Knaben Wunderhorn )의 가곡 중 <보초병의 밤의 노래>(Der schildwache Nachtlied), 그리고《대지의 노래》(Das Lied von der Erde ) 중 <고별>(Der Abschied)의 세 곡이다. 말러가 직접 쓰거나 수정을 가한 이 곡들의 텍스트와 음악의 상관관계를 살펴보면서 말러의 다양한 목소리들이 함축하고 있는 그보다 더 다양하게 열려있는 해석의 가능성에 대해 알아보았다. This paper is an attempt aiming at understanding of the hermeneutic studies in Mahler in the aspect of post-modern multiplicity, which has been increasing attentions recently. The meaning and significance of personae and voices in his vocal works were examined by analyzing the text and music: elements of multiple voices in his music and his textual and musical manipulation were investigated. For this purpose, Das klagend Lied, “ Der schildwache Nachtlied” in Des Knaben Wunderhorn , and “Der Abschied” in Das Lied von der Erde were chosen for analysis. In particular, various strata of interpretation possible by multiple speaking voices in these works were proposed by studying the inter-relationship between the music and text which either Mahler himself had written or altered.

17세기 프랑스 그랑모테트: 텍스트, 양식, 그리고 프로파간다

권송택 ( Kwon Song Taik ) 한양대학교 음악연구소 2021 音樂論壇 Vol.45 No.-

17세기 프랑스 그랑모테트는 왕실교회에서 연주되기 위하여 작곡되었고 앙시엥 레짐의 상징이 되었다. 기독교 전례 중에 왕과 프랑스를 칭송하는 것으로 일관한 이 모테트 장르는 루이 14세, 루이 15세가 매일 참여했던 소미사에서 주로 연주되었다. 왕을 위한 미사는 미사 전례의 자리 배치 등을 통해 신, 왕, 신하의 계층별 유대를 인식시키고 모테트의 텍스트는 프랑스 왕이 곧 하늘의 왕이라는 사고를 함축하였다. 본 논문에서는 왕실교회 음악감독들에 의해 작곡된 그랑모테트가 어떻게 그 정치적 역할을 수행하는지를 전례와 텍스트의 연관성과 음악 양식을 통해 살펴보았다. 그랑모테트의 텍스트는 시편을 패러프레이즈한 텍스트와 새로 쓰인 페랭의 라틴 텍스트이다. 그랑모테트는 그 텍스트와 음악 양식, 즉 프랑스 서곡 양식, 부점리듬, 호모포니과 단순한 폴리포니 짜임새의 교대, 궁정 춤곡의 3박자 리듬, 서정비극에서 가져온 극적인 표현양식 등으로부터 드러나는 프랑스의 정체성이 융합하여 절대왕정의 위대함을 노골적으로 치하하는 교육적이고 정치적인 도구였으며, 이러한 의미에서 정치성 짙은 프랑스 특유의 종교음악 장르라고 할 수 있다. The 17th-Century french grand motet was composed for the performances in the Royal Chapel from the beginning and became the musical symbol of the Ancien Régime. The motets were customarily designed to praise the King and the France during the Christian liturgy, and were mainly performed in the Low Mass of the Royal Chapel where both Louis XIV and Louis XV attended daily. Low Mass, which was called La Messe quotidienne duroi, reminded hierarchical bonds linking God, the King, and the Court by means of the geography of the Royal Chapel during the liturgy, and the texts of grands motets implied the idea of the King of France as the King of Heaven. The study examined how the sous-maitres of the Royal Chapel composed grands motets by paying particular attention to the connections between the liturgy and the texts. The texts were selected from the psalms with paraphrasing, and the Latin poetry in the Cantica pro Capella Regis newly written by Pierre Perrin. The combination of the texts and the musical style featuring the french identity with french overture style, dotted rhythm, the juxtaposition of homophonic and simple polyphonic textures, ternary court dance rhythm, and the dramatic expression influenced by the tragédie lyrique made the grand motet a unique genre functioning both as an educational and political instrument for glorifying the splendour of the Absolute monarchy.

논문 : 서양 고전주의 음악의 관용적 표현 양식

권송택 ( Song Taik Kwon ) 세계음악학회 2005 음악과 문화 Vol.13 No.-

19 세기 음악에서 리토르넬로 형식의 부활이 갖는 의미

권송택 한국음악학회 2001 한국음악학회논문집 음악연구 Vol.24 No.1

In Mahler's Kindertotenlieder, Bach-like aspects can be easily found. Especially the first song of the song cycle, "Nun will die Sohn," shows a extraordinarily clear ritornello form in the Baroque period. Anthony Newcomb has tried to establish a form of intermediate size smaller than the leitmotiv web in Wagner's music drama, and found that a couple of scenes in Tristan and Isolde and Sigfried were also built in the ritornello form. The reason of the adoptation of the Baroque style might be due to the Bach reception of the mid-nineteenth century, which had been investigated spottily at that time. In this study, I applied the cyclic formal structure in the extended repertoires both to the non-German and non-program music, Benvenuto Cellini overture of Berlioz and the 4th movement of the 9th Symphony of Mahler, respectively. Analyzing these works, the meaning of the reinvention of the Baroque ritornello form was discussed exarning how the composers naturally embodyed the characteristic features in the 19th-century music such as monotonality, monotheme, style of contrast, etc., which are also the implied characteristics of the Baroque cyclic structure, the ritornello form.

19 세기 말 독일음악의 주제적 기법과 음악형식과 그 영향

권송택 한국음악학회 1999 한국음악학회논문집 음악연구 Vol.20 No.1

During the course of the nineteenth century, for socio-historical reasons among others, it became obligatory for themes, or initial ideas, to be original. As a consequence, brevity of musical ideas was a characteristic of the late nineteenth century as opposed to the well-balanced and verse-like structured themes of the Classic tradition. According to Dahlhaus, principles of real sequence and developing variation were the distinctive techniques of the process of musical idea in the late nineteenth-century music. For the technique of real sequence, he examplified the works of Liszt and Wagner, whereas for that of developing variation, of Brahms. Both techniques served not only as a substantial element in the treatment of theme or musical idea but also as a functional one in the formal process. The purpose of this paper is to examine how such nineteenth-century thematic techniques and formal process became significant elements to the compositional techniques in the twentieth-century music by analyzing the works of Mahler and Schoenberg. In the first part of this paper, I introduced Dahlhaus's view of the compositional techniques in the late nineteenth century, and the techniques that he discussed are extended to the beginning of the twentieth century by analyzing Mahler's later work and Schoenberg's early work in the second part. Although Mahler's thematic technique in his 9th Symphony has more conservative aspect with the balanced period structure he often employed in his first statement of the thematic group, the local structure is essentially derived from Brahmsian developing variation. Among the diverse techniques used by Mahler, 'generative melody' from the germ motive in his thematic treatment is the most peculiar one for his motivic development, which is further developed by Schoenberg and Berg. For Schoenberg's atonal piece, the second movement of Op. 11, was analyzed to see the thematic technique and the formal structure. The comprehensibility of his music is due to the comprehension in its thematic technique of developing variation and formal process inherited from the late nineteenth-century musical language. As noted by Dahlhaus, technique of developing variation was more closely related to the concept of 'developing variation' and 'extended tonality' in Schoenbergian notion than that of real sequence and more influential to the "New German" school of composition.

쇤베르그의 분석방법에 의한 브라암스 Op. 51, no. 1 분석

권송택 서울대학교 서양음악연구소 1998 음악이론연구 Vol.3 No.-

As an overall formal plan for the first movement of String Quartet Op. 51, no. 1, Brahms maintained the classical sonata form in which the recapitulation corresponds to the exposition with only few exceptions. However, what makes this piece unique is that Brahms achieved coordination of the traditional form with technical models that reflect later music. Schoenberg also mentioned this movement in his essay, "Brahms the Progressive," as an example of harmonic extension. Moreover, he pointed out that Brahms's harmonic extension not only produced from the repeated sequential phrases like in Wagnerian passages, but also, from the integration of motivic, metric manipulations. The motivic and metric variations are fully developed in this movement without compromising the unity of sonata form and closely correlated with the harmonic amplifications, especially in the extension of themes, in transitions, or in the development where tonal ambiguity is greatly exploited. Brahms controlled the tonal form of the piece by contrasting the centrifugal force, derived from the tonal ambiguity in the exposition and development with the centripetal force, derived from the whole plan of monotonality, balancing the tonal ambiguity in the recapitulation. This paper will provide the tonal form of the movement with respect to the concept of monotonality which shows the harmonic amplification of the work through a chromatic event such as the "tonal problem." These formal and harmonic characteristics of this work are closely related to motivic and metric developments. This organic thinking-that the whole work is composed in one key with its various regions and every element composing the work is closely bound up each other-correlated the idea of "Grundgestalt." Eventually this process will show how Schoenberg's notion of the centrifugal and centripetal forces cooperate with motivic development, and how these forces balance each other in the organic monotonal work.

쇤베르크의 12음기법음악 분석 : Tone Music: Woodwinid Quintet Op. 26/1 목관5중주 Op.26을 중심으로

권송택 민족음악학회 2001 음악과 민족 Vol.21 No.-

Schoenberg begins his study on the 'musical idea' of how we think in music as following: "Composing is: thinking in tones and rhythms. Every piece of music is the presentation of a musical idea." He maintains thinking in music is subject to the laws of all our other thinking. All thinking consists essentially in bringing objects and concepts into relation. Also, on the meaning of 'presentation' he describes: "'Darstellung'(in Schoenberg's terminology) signifies the presentation of an object to a spectator in such a way that he perceives its composite pars as if in functional motion." If musical thinking is bringing objects into relation through their functional motion, it searches out coherences. The notion of a part "in functional motion" characterizes a nineteenth-century philosophy of the art work as a living organism. After mentioning coherence of the wholeness of a work, Schoenberg provides the ways of contrasts in the state of 'rest' against 'unrest' or 'balance' against 'unbalance' as the generating forces throughout most of a tonal piece. With this concept of idea, he links the understanding of tonal and twelve-tone organization. In this paper, I focused on Schoenberg's own idea of musical thinking to understand his twelve-tone music in the traditional manner of presentation. The first movement of his woodwind quintet Op. 26 clearly shows the traditional manner of presentation of musical idea. The new methods of presentation in the twelve-tone piece could be discussed by comparing with the classic technique of thematic structure and sonata form organization. This study reveals that since form is the embodiment of a content, the 'outside' of the 'inside' for Schoenberg, the most essential elements of analyzing his works, either tonal, atonal or twelve-tone, are the 'musical idea' and its 'presentation'.

죠스껭의 미사 La sol fa re mi에 나타나는 오스티나토 정선율

權松澤 漢陽大學校 音樂硏究所 1995 音樂論壇 Vol.9 No.-

<말러>의 음악에 나타나는 <바하>의 영향 : 「죽은 어린이를 그리는 노래」를 중심으로

權松澤 漢陽大學校 音樂硏究所 1997 音樂論壇 Vol.11 No.-

<구스타프 말러>의 교향곡 제9번 : 제1악장의 형식과 Liquidation의 의미

權松澤 漢陽大學校 音樂硏究所 1998 音樂論壇 Vol.12 No.-