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C. P. E. Bach 의 " Probestucke Sonata(Wq. 63)" 에 대한 연구
김선자 한국음악학회 2001 한국음악학회논문집 음악연구 Vol.23 No.1
Emanuel Bach was recognized as one of the greatest composer during the period of pre-classicism and composed numerous work with plentiful emotion and abundant expression by the use of fuges. He especially composed 150 sonatas using keyboard instrument. From his considerable output his sonatas showed various attempts that have never appeard before mere made. The attempts and developments such as diversity of rhythm, unexpected modulation, change of harmony, use of recitative or cadenza, and sudden shift in dynamics. Therefore Haydn and Beethoven followed his new pattern. The outstanding achievements of Emanuel Bach is found in his writing 『Essay on the True Art of Playing Keyboard Instruments』. According to his writing, the tradition of performance is described in detail such as transition of keyboard instruments, new fingering techniques for different styles of music, speed of performance, performance style and methods to interpret depending on speed. It also contributed to the removal of many problems that occur in common when techniques of performance are established. An ideal method to introduce and interpret ornamental tune and a variety of ideas about performance are presented here. It provides a basic technique for performance of musical works compatible with every generation. He composed " Probestu¨cke Sonata " to explain his view. E. Bach composed " Probestu¨cke Sonata "consisted of three movements of six sonatas to explain his authoritative views for the volume one of the『Essay』. According to『Essay』he emphasized the importance of performance in which feeling and ideas of the work were properly represented. These sonatas were composed of various mood to seem to test musicions for their abilities. The real example of fingering and ornamental tune in relation to『Essay』is applied in the " Probestu¨cke Sonata " . Especially for musical skills it describes the use of fantasy, clear instructions, legato technique, bebung technique, shift in dynamics, use of cadenza, and improvised performance for repetition. As E. Bach puhlished『Essay』and " Probestu¨cke Sonata ". They were authoritative text for theory and its performance of music in 18th century and became a basis for performance with current keyboard instruments and finally be initiated to provide a classical text for artistic inspiration and discernment of pianist up to the present.
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중국 소수민족 창세여신과 설문대할망의 원형 - 설문대할망의 호칭과 ‘할머니’ 형상, 창세여신과 비극성에 관한 문제
김선자 한국무속학회 2023 한국무속학 Vol.- No.47
This article focuses on three points. The first is the question of the name of "Seolmundaehalmang" and the shape described as "the old woman", the second is the question of her status as the goddess of creation, and the third is the tragic characteristics of "Seolmundaehalmang" related to the story of General 500. On these three points, this article first focuses on the literature records of the Joseon Dynasty and analyzes the description of the "person presumed to be Seolmundaehalmang" appearing in the records in detail. Later, literature records from the 1930s to the 1950s and early records were analyzed and examined again in the context of literature recors from the Joseon Dynasty. As a result, the following conclusions were drawn. First, it is necessary to reconsider the simplified name "Seolmundae" or "Seonmundae" of “Seolmundaehalmang”. Above all, there is a problem in describing "Seolmundaehalmang" uniformly in the form of a "the old woman." Second, there are still many shortcomings to see the original form of "Seolmundaehalmang" as the goddess of creation. Nevertheless, based on literature records and the data handed down and recorded since the 1930s, it is possible that “Seolmundaehalmang” was transformed from the goddess of creation to the goddess of Halla Mountain in a universal context showing the change in the personality of the goddess of Creation in East Asian. However, in order to reveal that the original form of "Seolmundaehalmang" was the goddess of creation, it is necessary to discover more early literature records. Third, the prototype of "Seolmundaehalmang" is not related to tragedy. The tragic characteristics of "Seolmundaehalmang", which is related to the story of General 500, does not fit the image of the goddess of creation, although it may mean remembering the painful past of the mother of Jeju Island and the past history of Jeju. The tragic characteristics that has been overlaid on "Seolmundaehalmang" should be dismantled. Whether it is the goddess of creation, or the goddess of Halla Mountain, "Seolmundaehalmang" in the 21st century should be newly interpreted as an active, enterprising, creative, and optimistic image. 본 논문은 세 가지 점에 주목한다. 첫째는 설문대할망의 호칭과 ‘할머니’로 묘사되는 형상에 관한 문제, 둘째는 설문대할망의 창세여신으로서의 신격에 관한 문제, 셋째는 오백 장군 설화와 연관된 설문대할망의 비극성 문제이다. 이 세 가지 점에 대해 본 논문에서는 먼저 조선 시대 문헌자료에 주목하여, 그 자료에 등장하는 ‘설문대할망으로 추측되는 인물’에 관한 묘사를 다시 구체적으로 분석한다. 이후 1930년대부터 1950년대에 이르는 시기의 문헌자료와 초기 채록자료들을 분석하여 조선 시대 문헌자료와의 맥락에서 다시 살폈다. 그 결과 다음과 같은 결론을 도출했다. 첫째, 설문대할망의 ‘설문대’ 혹은 ‘선문대’라는 간칭에 대한 재고가 필요하다. 무엇보다 설문대할망을 일률적으로 ‘할머니’의 형상으로 묘사하는 것에는 문제가 있다. 둘째, 설문대할망의 원형을 창세여신으로 보기에는 부족한 점이 여전히 많이 있다. 그럼에도 불구하고 문헌자료와 1930년대 이후 전승, 채록된 자료들을 바탕으로, 동아시아 창세여신의 신격 변화를 보여주는 보편적인 맥락에서 설문대할망이 창세여신에서 한라산의 산신으로 변용되었을 가능성은 있다. 그러나 설문대할망의 원형이 창세여신이었음을 밝히기 위해서는 더 많은 초기 문헌자료의 발굴이 필요하다. 셋째, 설문대할망의 원형은 비극성과 관련이 없다. 오백 장군 설화와 연관된 설문대할망의 비극성은 제주 어머니의 고통스러웠던 과거, 제주의 과거 역사를 기억한다는 의미는 있을지언정, 창세여신의 형상과는 맞지 않는다. 설문대할망에 덧씌워진 비극성을 해체해야 한다. 창세여신이든 산신이든, 거인 할망이든, 21세기의 설문대할망은 적극적이고 진취적이며, 창조적이고 낙천척인 이미지로 새롭게 해석되어야 한다.
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김선자 한국음악학회 1989 한국음악학회논문집 음악연구 Vol.7 No.1
Cesar Franck was one of the most important composers in French music of the late 19th century, Confronted with a public for whom music was chiefly synonymous with opera, he fought for the cause of instrumental music. He was the romantist, tried to lead the French music to a new direction. He sought to incorporate the achievements of Romanticism in an essntially classical framework, with a harmonic idiom influenced to some extent by the chromaticism of Liszt and Wagner. The (Pre´lude, choral et fugue) was the outcome of an intention to write a prelude and fugue in the style of Bach. The subject in dicidedly Bach-like, especially in the three-note leaning figure with which it opens. In this compostition, he tried to combine the strict form with his own character. For example, choral was put into between prelude and fugue. And through the subtle combinations, he used to give the equilibrium and the coordination to the whole work. And especially in fugue, he amalgamated the traditional musical form with his own way.
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