J.S.Bach(1685~1750)의 '平均律曲集'의 樣式的 考察

김인일 부산대 예술대학 2001 藝術論文集 Vol.15 No.-

It is a hard planning for simple classification about J.S.Bach's Well-tempered Clavier because have a universal character of music in style that great musical works. But we must to do operation for analytic research and branch from Well-tempered Clavier as a larger keyboard work. So it's supplies as much helpful information about performance to an audience or study this music. Musical preferences also favor a clean, mathematical and metronomic realization - a safe but somewhat noncommittal solution to the communication of Bach' artistry. On a different level, then, is the enjoyment of incorporation the often neglected elements of rhetoric, musical construction of variety styles, the structures of the strong and weak within a given pulse and meter, and the fingering techniques of the time-shifting and sequential fingering rather than consecutive scale fingerings-. We can see about musical aspect and style for tuning method, a style or mode of a nationality and the trend of the times, and through the instrumentality of musical performance of J.S.Bach life days. These components, which are strongly interrelated and directly influence choices of articulation and flexibility of rhythm, often answer automatically questions of stuly, especially when they are understood as basic elements of the musical language. There a many technical approach for compositional setting of Prelude and Fugue Works. For example J.S.Bach had application larger episodes for Fugue, and used to motive of episodes as the same rank from thematic materials. He used to many dance style music in his works of Well-tempered Clavier, it is a different style playing Well-tempered Clavier from Tempo, Phrasing, Articulations and so on.

Liszt, Mephisto Waltz, No.Ⅰ의 演奏 解釋에 關한 考察

金仁一 부산대학교 예술대학 1986 藝術論文集 Vol.3 No.-

We know the Franz Lisat as a most important virtuoso pianist and composer of Symphonic poem with thematic transformation and cyclic form in the nineteenth century. His last important orchestral work accomplished at Weimar was made out of the two episodes from Nikolaus Lenau's Faust. Liszt's second episode has been known as the well konwn First Mephisto waltz. The piano version of the First Mephisto Waltz, combined with excitement and sensuality, is a made of the Romentic period, and some of harmonic progression in its quieter middle section anticipate the music of Mysticism. We can see another example of the Program music in the First Mephisto Waltz, and have a stroy of the epic or dramatic feeling through marvellous virtuosic technic of employing the full range of the keybord over measure 800-814, of playing heavy chordal passage over measure 275-298 and of skipping widely by the Thematic Transformation over measure 772-791. We get much idea of the piano playing of the Liszt's First Mephisto Waltz by means of music disc of the contemporary famous pianist's playing such as Lazar Berman, Vladimir Horowitz, Van Cliburn, Jorge Bolet, Earl Wild, David Bar Illan, Vladimir Ashkenazy and France Clidat. There is full dramatic sonority in Vladimir Horowitz's combination of tempo rubato and pedaling, a fast driving skilled technique of the twentieth century by Vladimir Ashkenazy and France Clidat, standardized playing of Listz's piano music by Jorge Bolet and Earl Wild's dynamics, and useful fingering of Vladimir Horowitz and Jorge Bolet at measure 109. We must know sharing with hands the technical elements of scale and the arpeggio line over measure 696 and 814.

正樂 演奏時 音程과 音高의 測定 : 독주곡을 중심으로

金吉雲 부산대학교 예술대학 1992 藝術論文集 Vol.8 No.-

성화의 영적세계(Ⅲ)

김영길 부산대학교 예술대학 1989 藝術論文集 Vol.5 No.-

Once I've said to my wife that I always live in this world like an orphan. She seemed to be a little sorry. She asked why I had thought so even with any children, wife and parents. Infact, thorgh man lives in the linkage of physical relations, he faces his death and his spiritval provlems for himself. He cannot impart his problems to an other. So he has a choice to solve them only with the Lord contemplating his purpose for my life in this world. Everybody is an orphan in the world, I think but some deny this for their relatives of the flesh and blood, but we connot denny it if we think the soul. Man is born alone and also dies alone, ent whoever knows the will of Good receives the guidance of the Hord. I have to walk through this world, even though it is as a wild desert or a snowy hill with cold wind and flash. These works shows the lonely pilgrimage in this world as an orphan. Look at the pilgrim of an orphan walking through the endless hard world with only a staff as a reliance. My way is only one way, that of suffering cross rejecting all the temptations of this world. When I wondered in this complex and daisy world the way of the cross shone before me. The Lord of the cross is my light, my way, and my life. Without the light of the cross before me, and without the fath, every darkness, anguich sadness, disaster takes me in surprise. O! the light of the cross of the Lord which lights my way like a morning star anywhere, at any time. This light relieves my weariness in the stardy journey of the life and gives me a joy. Whoever does not have the light of the cross sighs and complaints. Thus I do not fear the rough waves of the world for the strength, power and victory come from the Lord. How good a friend! He is a sweet friend when I am a lonely arphan in the world. Be always with me as in the picture! I truely know that only the foolish are taken into the trap of worry and trouble because of their bodily desire.

國樂器 改良의 試案 : 피리에 基하여 with special reference to Piri

金吉雲 부산대학교 예술대학 1989 藝術論文集 Vol.5 No.-

現行 男唱歌曲의 노래선율 硏究

송권준 부산대 예술대학 1997 藝術論文集 Vol.12 No.-

Korean traditional lyric song (kagog 歌曲) are sung in two modes- pyoungjo (平調, the other name-ujo 羽調) and kyemyounjo (界面調)-and in two styles, sung by male and female. The pyoungjo kagog by male are all 11 tunes and the kyemyounjo are 13. Almost of precedent studies on kagog are dependent upon ancient notes for keomungo(玄琴). Therefore the result of studies on kagog is by accompanied melody of keomungo only. This study is on the melody of all songs in kagog by male. It was founded that cadence is related with construction of poetry and melody. Properly division of chapter is determined by cadence. There are three lineage in pyoungjo kagog. - isudaeyop 貳數大葉 lineage ; isudaeyoup 貳數大葉·junggeo 中擧·pyounggeo 平擧·tugeo 頭擧·wooling 羽弄·panyoup 半葉 - lak 樂 lineage ; woorak 羽樂·ollak 言樂 - pyoun 編 lineage ; woopyoun 羽編·pyoullak 編樂 Also there are three lineage in kyemyounjo kagog. - isudaeyop 貳數大葉 lineage ; isudaeyoup 貳數大葉·junggeo 中擧·pyounggeo 平擧·tugeo 頭擧·taepyoungga 太平歌·panypoup 半葉 - nong 弄 lineage ollong 言弄·pyoungnong 平弄 - pyoun 編 lineage pyounsudaeyoup 編數大葉·ollpyoun 言編·pyoullak 編樂

큐비즘의 현대적 시선

김해성 부산대학교 예술대학 2004 藝術論文集 Vol.18 No.-

1600~1750년경의 Keyboard sonata의 변화 과정

김인일 부산대 예술대학 1998 藝術論文集 Vol.13 No.-

The sonata style of the Baroque period can be generalized, the most consistent traid besides the use of continuo is the tendency towards motivic play the frequent passing about of a melodic fragment rather than phrase grouping. In the early Baroque Sonata style represent at its best by G.B, Buonamente, the forms are single-movement or multi-sectional, in the manner of the canzona. In the middle Baroque, represented by Corelli, the multi-sectional forms that can be called movements. It was very contrasted as tempo and music style on structure, and favored four movements as [slow-fast-slow-fast] on 'Sonata da Chiesa' and 'Sonata da Camera'. There are many contrafuntal style in music of Sonata in Baroque period like 'Canon' and 'Fugue'. And used many dance like style in Gigue or Minuetto as last movement. In the late Baroque sonata was much confusing in 'Sonata da Chiesa' with 'Sonata da Camera'. There are same music materiel in movements as [slow-fast-slow-fast] and same tempo's name in sonatas. Constrduction of sonata formes in late Baroque, sometimes the final section repeated or resembled the first section, both in early multi-sectional canzonas or sonatas and Venetian, usually five-movement sonatas of Legrenzi. And same method as one movement of D.Scarlatti sonatas. In the last movement of late Baroque Sonatas, has from Gigue like as dance style structures to Minuetto and Rondeaux by whom through J.S.Bach, J.A.Hasse, C.Wagenseil, G.Benda and J.C.Bach, but not yet come out accurate sonata-allegro forms still Wiener Classic period like Haydn and Mozart's Late Sonatas.

관현악곡 낙동강 : 부산시립국악관현악단 위촉작품

황의종 부산대 예술대학 1994 藝術論文集 Vol.10 No.-

해금 협주곡 제1번

黃義宗 부산대학교 예술대학 1989 藝術論文集 Vol.5 No.-