윤이상의 대관현악곡 「예악(Re´ak)」 (1966) : "제 3의 공간"의 음향언어 Eine Klangsprache "im dritten Raum"

윤신향 민족음악학회 2003 음악과 민족 Vol.26 No.-

Diese Studie analysiert das representative Werk Isang Yuns fuer grosses Orchester: 「Reak」(1966). Die Analyse verbindet die Struktur-Analyse mit der Hoeranalyse der Klanggestalt. Als charakteristisch fuer die Klanggestalt des Stueckes werden folgende Merkmale herausgestellt: der Klang fliesst still und dynamisch, monistisch und heterophon entlang einer Wand-Flaeche in eine Richtung, und hat trotz aller heterophonen Zuege einen ganzheitlichen Charakter. Bei diesem wird stets eine fuer Yun eigentuemliche Spannung geladen. Das zweite Kapitel untersucht die Gestaltungsweisen der je eine Klanggruppe bildenden Instrumentengruppen. finsichtlich der musikalischen Semantlk sind die Konstellationen der Instrumentengruppen bzw. Klangfamilien von wichtiger Bedeutung. Im Laufe des Stueckes veraendem sich d e Klang gestaltender Instrumentengruppe gleichsam vom Kollekven zum Individuellen. Dies verursacht einen Funktionswandel der Einzelinstnunentengruppen: der Wandlungsprozess der koreanischen Mehrklangpeitsche Pakgruppe und Harfengruppe ist hierbei bedeutsam . Das naechste Kapitel analysiert am Beispiel des dntten Teils die bei 「Reak」vollendete Hauptklangtechnik. Das den Hauptklang konstruierende Tonbuendel fis3-gis-(cis2-e)-h bei der Floetengruppe, und h-cis-fis bei der Trompetengruppe bestehen aus einem Bruchteil des meldschen h-Moll-Tonleiter, so dass der Ton h den Charakter eines tonalen Zentnuns hat. Hinsichtlich des klanglichen Merkmals dieses Teils laesst sich es nicht verkennen, dass Yun versucht, den Charakteristik der koreanischen Musikelemente nicht allein n i t der westeuropaischen atonalen Technik zu vermitteln, sondem auch vermittels einer dramatischen Spannung mit der Eigenarten der musikahschen Romantik. Die Kraft des Gesamtklanges, die den Klangfuss dieses Stueckes traegt, liegt in der dynamischen Funktion der Hauptklaenge, die das Klangmaterial veraenderen und erweitem. Weiter wird das Verhaeltnis der Hauptklangkomposition Isang Yuns zur Klangflaechenkomposition Gyorgy Ligetis untersucht. Waehrend bei Ligeti die Einzeltoene nicht als solche wahrgenommen werden, haben Einzeltoene bei Yun eine gestaltbare Bedeutung und beanspruchen eine entsprechende Wahrnehmungsweise. Besonders kennzeichnend 1st die Ausdrucksgeste, mit sich die Hauptklaenge stets praesentieren. Ekachtenswert ist, dass solche Charakteristka normalerweise am Ende einer Phrase bzw. Abschnittes oder eines noch groesseren Teils vorkommen. Das Kemelement der Spannung, das dialektische Zuege und somit Widerspruch beinhaltet, liegt im Konfikt zwischen den Geste und Flaeche, also dem Klangfluss und Gegenstaendhchkeit, der bei der Verknuepfung mit der Klangflaechenkomposition verursacht wird. Das letzte Kapitel untemimmt eine kultursoziologische Interpretation ueber 「Reak」, der die vorangegangene Hoer-Analyse wie aesthetische Betrachtung zugrundeliegen. Zwei Bedeutungen konnten dem Stueck zugeschneben werden: zum einen reflektiert sich in Reak~ die Einwanderergesellschaft der aussereuropaeischen Voelker in der westeuropiaschen Gesellschaft, zum anderen widerspiegelt sich die Aussenseite des Werksystems den Veraendemgsprozess der traditionellen koreanischen Musiktradition. Folglich hat die Klangsprache Yuns ein doppeltes Spannungsverhaeltnis gegenueber der koreanischen wie der westeuropaischen Musiktradition. Der verrnittels der Hauptklangtechruk konstruierende endlose Klangfluss des 「Reak」-Stueckes, dessen eigene Struktur eine Klangflaeche bildet, kontrapunktiert scheinbar die Kollektiv-Emotion der koreanischen Volksgruppe.

20세기 중반 서유럽의 음향공간적 사고와 다문화 간의 만남

윤신향 ( Yun Sin Hyang ) 세계음악학회 2003 음악과 문화 Vol.8 No.-

The purpose of this study is to investigate the multicultural meeting in the sound-spatial concepts in the 1950-60s in western music and thereby to analyze the sociocultural location of this music. The first section describes three forms of the sound-spatial concept: the serial music, the aleatoric music in the 1950s, and the post-serial music in the 1960s. The second section deals with the general sociocultural location of music, that is get out special sound-aesthetic matter in the middle of the 20th century. This matter is discussed on one hand side as an aspect of the relationship between space-composition and culture-imperialism, and on the other hand side as an aspect of the intercultural composition. The first composition style of three sound-spatial ideas is based on the serial technique, which is `sound in the real space`. In this sound concept, represented by Karlheinz Stockhausen, sound is controlled technically. The technical equipment is a substantial component, since it allows the composer to combine sound-colors in individual oevres differently each time. The second composition style is based on the aleatoric technique, which is the `sound of silence`. In this sound concept, represented by John Cage, the sound space imitates the life space via the sound of the surrounding nature and the daily noise. The third composition style is the sound-surface-composition of the post serial music, which is called `imageable sound`. This sound concept, represented by Gyorgy Ligeti, deals with the imaginary space. The three sound-spatial ideas have in common a weakening of the awareness of a continuous flowing time, as it is present in traditional western music. With the moving of the musical time towards space dimensions expand the history of western music towards non- western cultures, and this is connected to sociocultural phenomena of multicultural exchange. The spatial composition effected by the serial technique includes elements, which can be discussed under an aspect of cultural imperialism. In the spatial cornposition, the tonal system rooted in western tradition is developed further towards the spatial system. The changed space-time-concept implies, that the furture oriented time is transformed into the space dimensions. Finally, the expansion of western music towards non-western music was the aesthetic solution to the shortage of sound material and the space-time problem in western music. The spatial composition of west European composers often includes elements of traditional music from non-European cultures. While this implies an exploitation of the non-western space, the cultural transformation by non-European composers via intercultural composition is a representation of their original culture. Since the audiences in different cultures have different experiences, the perception process plays a prominent role for the investigation of intercultural compositions. Still, the interpretation as well as the analysis of these compositions has to be based on individual perception. Because intercultural compositions are interpreted and played differently in different cultures, it is important for the investigation of the perception process to take the sociohistorical background into consideration. It turns out, that the modem composers in the 1950s and 1960s preceded a general development of the era. Their advances could be summarized as follows: sound in the real space realized by the electronic technique reflected the advances in modern communication, sound in the silence headed a process towards extreme individualism, and imageable sound anticipated the time of multimedia communication. All three new concepts of composing predicted a change in the way of life, which implies that the way of sound arrangement in the music is connected tightly to the sociocultural communication of man. The tendency of cultural imperialism in the spatial compositions and the intercultural composing bringing out the cultural transfor

19세기 후반 음악 음향학의 발전: 헬름홀츠와 엘리스의 연구를 중심으로

구자현 고려대학교 역사연구소 2014 사총 Vol.81 No.-

The nineteenth century witnessed a lot of developments in the field of musical acoustics. In the 1860s, Hermann Helmholtz, who made the most outstanding research outcomes in the nineteenth century musical acoustics, analyzed the nature of musical sounds in terms of partial tones, and proved the reality of combination tones through excellent experimental research on acoustics. In addition, he explained the consonance and dissonance on the basis of the beats between partial tones and combination tones. His musical acoustics aimed to scientifically explain the legitimacy of musical acts as an art. It was A. J. Ellis who translated Helmholtz’s acoustical treatise into English to introduce Helmholtz’s musical acoustics to Britain. Apart from its translation, Ellis added detailed notes and voluminous appendices to it based on his original research. He carried out positivistic research on the history of musical pitch by means of accurate measurement and systemized the general theories of various temperaments and musical scales, extending his research to the scales of various cultures. Ellis, like Helmholtz, tried to build all the music on the basis of science, but for this purpose, tried to grasp the contemporary state of music in scientific manners as well as to present the prescriptive examples of music, unlike Helmholtz who explained musical sounds themselves and aesthetic feelings of them scientifically. 19세기를 거치면서 음악 음향학 분야에서 많은 발전이 이루어졌다. 19세기 음악 음향학 분야에서 가장 두드러진 연구 성과를 낸 인물인 헬름홀츠는 1860년대에 음향학에 대한 탁월한 실험 연구를 통하여 부분음에 기초하여 악음의 실체를 과학적으로 분석하였고 조합음의 실재성을 주장하였다. 또한 그는 부분음과 조합음 간의 맥놀이에 입각하여 협화음/불협화음을 설명하였다. 그는 예술로서 음악적 행위의 적합성을 과학적으로 설명하기를 추구하였다. 헬름홀츠의 저서를 영어로 번역하여 그의 음악 음향학을 영국에 소개한 사람이 엘리스였다. 그는 그 책의 번역에서 그치지 않고 자신의 독창적인 연구를 토대로 그 책에 상세한 각주와 상당한 분량의 부록을 첨가하였다. 엘리스는 정밀한 측정에 토대를 두어 음고의 역사에 대하여 실증적 연구를 수행했을 뿐 아니라 다양한 정률과 음계에 대한 일반적 이론을 체계화하였고 다양한 문화권의 음계로 연구의 영역을 확장하였다. 엘리스는 헬름홀츠처럼 음악을 과학의 토대 위에 세우고자 했으나 헬름홀츠가 악음 자체와 그것에 대한 심미적 느낌을 과학적으로 설명한 것과는 달리 음악의 실태를 과학적으로 파악하고 음악의 규범적 모범을 제시하고자 했다.

리게티 음악의 황금비 구조와 프랙탈적 음향 확장 연구: 현대 문화산업에서의 구조적 미학과 활용 가능성

이현지,안성희,김정현,손영주,오우흔,정선미,최새롬 한국문화산업학회 2025 문화산업연구 Vol.25 No.4

This study analyses the operational principles of the Golden Ratio( φ = 0.618) and fractal structure embedded in the musical time and sonic organization of György Ligeti’s String Quratet no.2 (1968), 3rd Movement. Ligeti’s late compositional style is characterized by a structural tension between micro-level rhythmic precision and macro-level proportional balance. This paper approaches such a duality through the lens of mathematical proportion and self-similarity, aiming to reveal the logic of order and organic generation that underlies Ligeti’s musical architecture. The research combines score-based register distribution analysis with visual graphing on a normalized time axis, demonstration that the expansion and contraction of pitch ranges are designed according to the Golden Ratio as a temporal pivot. Particularly, the symmetrical distribution and recursive patterning of pitch in the A-B-A’ formal structure of the third movement correspond closely to the principle of self-similarity defined in fractal theory. Such a configuration transforms proportional relationships into perceptible auditory form, simultaneously manifesting precision and organic continuity within a single structural framework. The analysis shows that Ligeti’s music employs proportional and fractal patterns that integrate structural order with surface complexity, extending beyond a simple use of the golden ratio. These proportional principles also offer potential applications in contemporary cultural-industry practices, including algorithmic composition and audiovisual sound design.

윤의상의 창작세계와 민족의 문제

윤신향 낭만음악사 2005 낭만음악 Vol.16 No.3

1970년대 문예영화 시나리오의 형식 미학 연구 : 윤삼육의 각색 작품을 중심으로 on works dramatized by Yun-samyuk

김남석 고려대학교 민족문화연구원 한국문학연구소 2002 한국문학연구 Vol.- No.3

This dissertation has been written with a purpose to examine and to understand the meaning of the screen aesthetics of the scenarios dramatized by Yun-samyuk.The scenarios of cine-novels in the 1960s are the transformations to retain and to strengthen the accomplishment of literature works. When orginal texts were dramatized for the films,the chacter,the plot,and the imformation of narrative were strengthened. The number of character increased.The simple plot enlarged.The information of narrative changed to the visual image.This adaptation shows the influence on the message of authors in the 1960s. But the scenarios of cine-novels dramatized by Yun-samyuk in the 1970s are the transformations to retain and to strengthen the screen aesthetics,the screen aesthetics indicate the camera works, the sound effects, the parallel editings and the visual images. The camera works are fully detailed in the dramatizing scenarios.The effects of sound are powerful and profound.The parallel editings are calculated to attract the attention of spectators.The visual images indicate delicate skill to express delineation of the mind.

19세기 후반 음악 음향학의 발전: 헬름홀츠와 엘리스의 연구를 중심으로

구자현 ( Ja Hyon Ku ) 고려대학교 역사연구소 2014 사총 Vol.81 No.-

The nineteenth century witnessed a lot of developments in the field of musical acoustics. In the 1860s, Hermann Helmholtz, who made the most outstanding research outcomes in the nineteenth century musical acoustics, analyzed the nature of musical sounds in terms of partial tones, and proved the reality of combination tones through excellent experimental research on acoustics. In addition, he explained the consonance and dissonance on the basis of the beats between partial tones and combination tones. His musical acoustics aimed to scientifically explain the legitimacy of musical acts as an art. It was A. J. Ellis who translated Helmholtz`s acoustical treatise into English to introduce Helmholtz`s musical acoustics to Britain. Apart from its translation, Ellis added detailed notes and voluminous appendices to it based on his original research. He carried out positivistic research on the history of musical pitch by means of accurate measurement and systemized the general theories of various temperaments and musical scales, extending his research to the scales of various cultures. Ellis, like Helmholtz, tried to build all the music on the basis of science, but for this purpose, tried to grasp the contemporary state of music in scientific manners as well as to present the prescriptive examples of music, unlike Helmholtz who explained musical sounds themselves and aesthetic feelings of them scientifically.

한국 희곡/연극 이론 수립을 위한 기초 연구

김익두 한국극예술학회 2002 한국극예술연구 Vol.0 No.15

A basic study for establishing the theory of Korean drama and theater

재패노이즈 청취법 : 악음과 소음의 개념에서 벗어난 청취를 위한 아방가르드적 관점의 필요성

이승규,임태규 한국음향학회 2025 한국음향학회지 Vol.44 No.5

This study reexamines Japanoise, a Japanese form of noise art, from an acoustic-aesthetic perspective, and analyzes its listening practices and genre identity in comparison with conventional noise music and sound art. While traditional noise music, rooted in the philosophy of the avant-garde movement, adopted noise as a musical material, its modes of listening often remained confined within the framework of conventional music appreciation. In contrast, Japanoise places emphasis not on the structural completeness of sound but on the act of creation and the stimulation of physical senses, attributing artistic value to the process of sound generation rather than its final product. Through literature review and qualitative comparative analysis, this paper identifies two core elements that Japanoises hares with sound art: active engagement of the listener and an action-based aesthetic. Based on these findings, the study redefines Japanoise not as a subgenre of noise music, but as an expanded practice of sound art. This redefinition offers listeners a new framework for auditory experience and clarifies the artistic significance and acoustic-aesthetic potential of Japanoise.

음악에 나타난 과학적 성격

최미세 ( Mi Sei Choi ) 한국괴테학회 2014 괴테연구 Vol.- No.27

Die Idee von Schonheit als Ausdruck von Harmonie findet sich bis zum 18. Jahrhundert in einer Vielzahl von philosophischen und musiktheoretischen Traktaten. In der Mitte des 19. Jahrhunderts kritisiert der Wiener Musikforscher Eduard Hanslick die musikasthetischen Schriften, welche auf metaphysischem Wege sich dem Gefuhl zu nahern versuchten. Hanslick beschreibt hier den Wendepunkt zwischen zwei Methoden der Erkenntnisgewinnung in der Asthetik, namlich einer wissenschaftlich-metaphysischen, die er als Musikwissenschaftler vertritt, und einer naturwissenschaftlichen, welche die metaphysische abzulosen begann. Der Heidelberger Physiologieprofessor Hermann von Helmholtz wollte durch seine physiologische Untersuchung ein Verstandnis von Musik erreichen, das nicht mehr auf Tradition von Musik beruht, sondern auf den Messungen von objektivierenden Laborinstrumenten. In der Musikwissenschaft wird Helmholtz als Begrunder einer naturwissenschaftlich fundierten Musiktheorie und der musikalischen Akustik rezipiert. Die neue akustisch fundierte Grundlegung der Musik durch Helmholtz erfordert von naturwissenschaftlich Unbedarften einen tief greifenden Wandel ihrer Wahrnehmungsweise. Helmholtz dringt durch seine Forschung uber die Akustik in ein Gebiet ein, das bisher in der Hand der Asthetik und Musiktheorie gewesen war.