J. Brahms 가곡 <4개의 엄숙한 노래(Vier ernste Gesange)> op.121에 대한 분석연구

조향연 조선대학교 대학원 2004 국내석사

This thesis was written for understanding the idea and thoughts of Brahms by analyzing and studying especially his later work. "Vier ernste Gesange"op.121. The motive that why he composed 'Vier ernste Gesange'op.121. attributed to his colleague's deaths. after that he became lonely and had a premonition of the end of his life. thus he earnestly considered the deaths of friends and blessed their deaths so composed the interpretation of love. All of these motivated him to compose this peace. The analyses and researches of "Vier ernste Gesange"op.121. one of Brahms tunes can be summed up as follows. The fundamental elements of Brahms's tunes have melody, harmony, construction and tonality. It is an unusual thing that accompaniment is pictorial. However, on the parts of playing the piano mood is marvelously diversified. The broad used of bass by the hand, especially becomes Brahms'own characteristic The unceasing strength which is his movement about death brings forth is expressed in the peculiar combination with rhythm. harmony of voice-parts and piano, ingenious modulation, dark minor scale, and cheerful major scale etc. In "Vier ernste Gesange"op.121, the inspiration of death and its fear are expressed from the first piece to the third one, in the fourth he composed the melodies in which the suggestive belief that he who had believed in and counted on God would get the eternal salvation seems to be contained. According to the result of the study on his work "Vier ernste Gesange op.121., Brahms' words of songs eloquently express his philosophic view of life resulted beings in this futile life and from emphasis on the greatness of love.

J.Brahms가곡 <4개의 엄숙한 노래(Vier ernste Gesange)> op.121의 분석연구

황성진 大邱가톨릭大學校 大學院 2001 국내석사

A purpose and meaning of study This thesis is written with to understanding the idea and thoughts of Brahms by analyzing and studying structurally his later work, "Vier ernste Gesange" op.121. The analysis and research of "Vier ernste Gesange" op121 one of Brahms Lieds can be summed up as follows. The fundamental elements which Brahms Lieds have are melody. harmony, the construction and form of tonality. This analysis deeply understand 'Vier ernste Gesange' op.121 Brams evaluated as important in musical hitory that include emotion of romanticism In addition temperance and form of classicism. The motive that he composed 'Vier ernste Gesange Johannes Brahms' op121 is because the great man of sincerity who became lonely after he had lost his loving friends Elisabeth, Hans B low, Clara Schumann had a premonition of the end of his life. And thus he earnestly consider the deaths of his friends and blessed their deaths. He composed the interpretation of love. All of these motivated him to compose this peace. In "Vier ernste Gesange" op.121 the inspiration of death and its fear are expressed from the first piece to the third one. In the fourth he composed the melodies in which the suggestive belief that he who had believed in and counted on God would get the eternal salvation seems to be contained. It is an unusal thing that accompaniment is pictorial, However, on the parts of playing the piano the moods are marvelously diversified. The broad use of bass by the left hand, especially, becomes Brahms' own characteristic.

J. Brahms의「Vier Ernste Gesange, op. 121」의 분석연구

조효섭 全北大學校 敎育大學院 2003 국내석사

The most creative composer of middle Romantic music was J. Brahms(1833-1897), who was not exclusive in manner which side in the trouble of the old and new composer. In particular, he produced great achivement in composition of Deutsch Lieder. His lieder, 200 pieces remaining was subjected to the influence of a folk song and it was very important element of Brahms' composition. Schubert was Brahms' model in song writing, and considerable proportion on his lieder are, in a more or less freely treated strophic form. In this thesis, I analyzed and researched 'Vier ernste Gesang e」 of J. Brahms' lieder. Method used in the research center round J. Brahms' musical character, influence of a folk song, and form and the meaning of poetry from the music above, following characters could be found. Brahms' music is Romantic in harmony and texture, but it has not the soaring, impulsive character of shumann's restraint, a certain classic gravity, an introspective, resigned, elegiac mood are important. The essential elements of Brahms' lieder are the melody and bass, the tonal plan and form. The melody of J. Brahms' lieder, it is very important to expression for lieder. First, it values the characters of melody, the mixture of tune to express the light and darkness of melody. And the composition of J. Brahms' music is connected to the imitation of Baroque style. In addition, Brahms applied for consecutive thirds octaves to expression for lieder. Secondly, the technique of playing the piano, was based on broken chord. The piano parts are marvelously varied in texture, frequently using extended arpeggio figuration and syncopated rhythms. Perhaps the greatest of the lieder are those concerned with reflections on death. 'Vier emste Gesange Op. 121, 1896」 is example, on Biblical texts, the supreme achievement of Brahms' last years.

Barhms의 歌曲에 대한 構造的 分析硏究 : Vier Ernste Gesange Op 121을 中心으로

임갑수 淸州大學校 大學院 1983 국내석사

This thesis is written with a view to understanding the idea of Brahms and further grasping his thoughts by analyzing and studying structurally his later work, Vier ernste Gesange op. 121. A. The motive of composition The great man of sincerity who became lonely after he had lost his loving friend Elisabeth, Hans Bulow, Clara Schumann had premonition of the end of his life. And thus he earnestly thought about the deaths of his friends and blessed the deaths. He composed the interpretation of love. All of these motivated him to compose this piece. B. The words and the analysis of the contents of the musical pieces. No. 1 Denn es gehet dem Menschen The words were taken from the Ecclesiastes, Chapter 3, verse 19-22. With f minor beginning it gives a sense of simplicity and solemnity. No. 2 Ich wandte mich und sahe The words were adopted from the Ecclesiastes, Chapter 4, verse 1-3. The piece begins with b minor and its melody is slow tempo. The piece takes on a sense of solemnity the more because it seems that the composer endeavored to keep his composure wavered by death. No. 30 Tod, wie bitter The words were taken from Jesus Sirach, Chapter 41. The piece begins with g minor and its melody is Grave in the latter part the song expresses the pleasure of death from which all torments are released. No. 4 Wenn ich mit Menschen zungen The words were taken from the First Corinthian, Chapter 13, verse 1-13, With E^b major beginning, the piece conveys beauty rather than the feeling of solemnity and gravity. Of all the four pieces this one oulminates in the Climax, which is never magnificent but rather solemn. The analysis and research of Vier ernste Gesange op. 121, one of Brahms' Lieds can be summed up as follows. 1) The fundamental elements which Brahms's Lieds have are melody, harmony, the construction and from of tonality. It is seldom that accompaniment is Pictorial. However, on the parts of playing the piano the moods are marvelously diversified. The broad use of bass by the left hand, especially, becomes Brahms' own characteristic. 2) unceasing strength which his movement about death brrings forth is felt with the peculiar combination of rhythm, the harmony of voice-parts and piano, ingenicus modulation, dark minor scale, and cheerful major scale etc. 3) In Vier ernste Gesange op. 121 the inspiration of death and its fear is expressed from the first piece to the third one. In the fourth he composed the medlodies, in which there seemed to be flowing the suggestive contents that he who believes in and counts on God will get the eternal salvation.

Johannes Brahms의 Vier ernste Gesange, op.121에 대한 연구

최난희 梨花女子大學校 大學院 1982 국내석사

J. Brahms의 가곡 ‘Vier Ernste Gesange' op.121(4개의 엄숙한 노래)의 분석연구

김영희 총신대학교 일반대학원 2009 국내석사

Johannes Brahms isa 19th century composer who suffered agonies in rapidly changed society and complicated phenomenal confrontation trouble, based on classicism style, he is a composer of Romanticism era who succeeded German music traditon by his own musical theater. He is famous for being composer of Lied ; one of the German’s romantic music when Schubert and Schuman composed many songs. He poured his artly high-condition by Lied and completed many masterpieces. The most ripen masterpiece is the his last melody <Vier ernster Gesange p.121>. <Vier ernster Gesange p.121> He obtained the motive to compose by the shock of his lifespan love, Clara Schuman’s swoonand by the emptyness and loneliness of the death of his loved friends and by foreknowing his end of life. The lyric of this song,by his lifetime love of reading, his history and musical theater influenced by the Bible word quote. He sang the worldly affairs like emptyness and death, sublimate the death to the blessing. He sang solemn, silent and powerfully through the love of God and the faith of His salvation. The first song was quoted from The Book of Ecclesiastes 3:19-22, Old Testament. Emphasize that in this world, we run after the treasure and reputation, like life is for forever, but after all everything will be vained, terminated by the death. Yet best finishing what we do in the present is the content of life. The second song was quoted from The Book of Ecclesiastes 4:1-3, Old Testament Bible. Saying that they who aren’t yet been born are more blessed than the living. The third song was quated from Apocrypha Ecclesiasticus 41:1-2, Old Testament Bible. The first half part about ‘death’ contents saying about point of view about ‘death’ between two man, the man who life happyly and the miserable man, it is a suffering for the former man and it is a blessing for the latter man.. The fourth song was quoted from 1 Corinthians 13:1-3 and 12-13 verses, New Testament Bible. Contents the necessity of love and emphasize the priority of love above all. Through these great four song are the most first composed, the most big scaled, filled with strong message about the love of God. The other song differently brigh and hopefully sing the love of God can recover and relief everything. These 4 songs, by the content, filled by variously many romantic element but by the style based on the classical style. It has Brahms’s Lied common characteristic but the special thing is these songs are all severe song, compared with the other Brahms’s transformed articulation songs. Instantly we can see, these are his musical conservative trend. Song development is to change the sound motive and to repeat, by imitate canon melody, vain repetition will be changed musically. 3 degree and 4 degree circular repetition of the melody form and every absolute power determine the principle of the world.This appearance spread over the four songs. Accompaniment part almost have no prelude and postlude, the feeling of the lyric is the special point. From the threshold of death, Brahms’s the most fine song on his career conclusion made these four song to bequeathed as a present for the next generation.Through his fine and passionate song, his confessional message still echoing for us today. 요하네스 브람스(Johannes Brahms 1833-1897)는 19세기에 급변하는 사회와 복잡한 사상적 대립의 갈등 속에서 많은 고뇌를 겪으면서도 고전주의 형식을 토대로 브람스 자신만의 음악관으로 독일 음악의 전통을 계승하려 했던 낭만시대의 작곡가이다. 그는 독일 낭만 음악의 장르중 하나인 Lied(예술가곡)의 작곡가로 유명한데 슈베르트와 슈만에 이어 많은 곡을 작곡했다. 그는 그의 예술적 높은 경지를 Lied를 통해 쏟아 놓아 많은 명작들을 완성 했는데 가장 완숙미를 가진 명작으로 그의 최후의 가곡인 <네개의 엄숙한 노래 op.121>가 그것이다. <네개의 엄숙한 노래 (Vier ernste Gesange op.121>는 그의 평생 동안 사랑한 클라라 슈만의 졸도로 인한 충격과 주변에 사랑했던 친구들의 죽음으로 인한 허무와 외로움 속에서 또 자신의 삶의 종말을 예견하며 작곡 동기를 얻게 된다. 이 곡의 가사로는 평생을 애독하며 그의 사상과 음악관에 영향을 줬을 성경의 말씀을 인용하여 세상사의 허무함과 죽음을 노래하고 그 죽음을 축복으로 승화시키면서 하나님의 사랑을 통한 그의 구원에 대한 신념을 엄숙하고도 조용하면서 강력하게 노래한다. 제1곡은 구약성경의 전도서 3장19-22절을 인용하여 이 세상에서의 삶이 영원한 것처럼 재물과 명예를 좇아서 살아가지만 결국은 모든 것이 헛된 것으로 죽음과 함께 끝남을 역설하며 그러나 현재 하는 일에 최선을 다하는 것이 복된 삶임을 내용으로 한다. 제2곡은 구약성경 전도서 4장1-3절을 인용하여 살아 있는 자보다 아직 태어나지 않는 자가 복되다는 내용이다. 제3곡은 구약성경의 외경인 예수시라크서의 제41장1-2절을 인용했다. ‘죽음’에 대한 상반된 입장을 말하는 내용으로 행복하게 산 사람과 불행하게 산 사람이 바라보는 ‘죽음’에 대한 관점이 전자는 괴로운 것이고 후자는 축복으로 보여짐을 내용으로 한다. 제4곡은 신약성경 고린도전서 13장 1-3절과 12-13절을 인용한 것이다. 사랑의 필요성과 무엇보다도 사랑이 제일임을 강조하는 내용이다. 이 고은 4곡 중 가장 먼저 작곡되고 가장 규모가 커서 하나님의 사랑에 대한 강한 메시지를 담고 있다. 다른 곡과는 달리 밝고 희망적이며 하나님의 사랑이 모든 것을 회복하고 구원할 수 있음을 노래한다. 이 네 개의 가곡은 내용적으로는 많은 낭만적 요소를 다양하게 담고 있지만 그 형식면에서는 고전적 형식을 토대로 하고 있다. 이것은 브람스의 리트가 가진 공통적인 특징이지만 특별한 것은 다른 브람스의 가곡이 변형된 유절 가곡인 것에 비해 이 곡은 모두가 통절 가곡이라는 점이다. 이것은 곧 그의 음악에 대한 보수적 경향을 엿볼 수 있는 점이다. 곡의 전개는 동기음형을 변형 또는 반복시키고 멜로디의 캐논적 모방을 통해 헛됨의 반복을 음악적으로 형상화시키기도 했다. 3도와 4도의 둥근 선율 형태의 반복 또한 모든 것이 절대적 힘에 의한 세상의 이치가 결정되듯 반복된다. 이런 모습은 4곡에 걸쳐 줄곳 되풀이 된다. 반주 부분이 전주와 후주가 거의 없고 당김음 처리로 가사의 느낌을 도운 것도 특이한 점이다. 죽음의 문턱에서 브람스는 가장 훌륭한 곡을 통해 그의 생애에 귀결을 후세대에 전하고자 이 네 곡의 가곡을 만들어 선물했다. 훌륭하고 열정적인 그의 음악을 통해 아름다운 그의 고백적 메시지는 지금도 우리에게 메아리 치고 있다.

J. Brahms의 『Vier ernste Gesange』에 관한 연구

강연희 부산대학교 2007 국내석사

A J. Brahms was a representative composer of romanticism in 19th century. This thesis describe comprehension and analysis of “Vier ernste Ges&auml;nge”. He made unique the works that had classic form including romanticism. This thesis aims to investigate the method of musical composition, characteristics of melody and accompaniment, and relations of text and Melody which were presented in “Vier ernste Ges&auml;nge op.121”. This thesis include the followings; 1. The theoretical background describe a musical characteristics, song characteristics and characteristics of German-song in 19th century. 2. The analysis of “Vier ernste Ges&auml;nge op.121” - This part presents composition background, analysis musical piece and the song. This thesis assist musician by the search and analysis about J. Brahms's last composition “Vier ernste Ges&auml;nge”.

Johannes Brahms의 가곡 OP.121 " Vier ernste Gesange"에 대한 연구

김여환 안양대학교 일반대학원 2009 국내석사

19세기 낭만주의시대 독일의 예술가곡은 계몽주의의 영향인 ”프랑스 혁명”이후 개인의 자유와 평등의 권리를 지지하고 인간의 개성을 존중하는 자유로움의 세계 속에서 탄생하게 된다. 18세기 독일의 시문학과 독일의 민요를 바탕으로 한 선율과 고전주의 시대 완성된 건반음악과의 만남은 19세기에 독일예술가곡의 새로운 장르로 리트(Lied, 예술가곡)가 완성된다. 리트는 슈베르트를 거쳐 슈만, 브람스, 볼프를 거치면서 발전 계승되어 왔다. 본 논문은 브람스의 네 개의 엄숙한 노래(Vier ernste Gesange)op.121 을 중심으로 19C 독일을 중심으로 한 예술가곡이 어떻게 발생하여 발전 계승 되었는지를 다루었으며 브람스의 음악세계를 통하여 그의 일생과 음악에 대한 열정, 창조성, 음악적 특징을 알아보았다. 작품분석으로 심오함도 살펴보았다. 브람스는 유절형식을 많이 사용하였는데 이 작품에서는 통절형식을 갖추고 있다. 이곡에서 낭만주의 시대의 브람스는 고전주의 시대의 가장대표적인 기악음악의소나타형식을 사용하였다. 화성에서는 법칙에 위배되는 3음의 생략을 사용하였고 감화음을 사용하여 가사의 표현할 수 없는 깊이의 은유가 잘 구성되어있다. 한악구에 박자 리듬의 다양한 효과로 Hemiola rhythm, Cross Rhythm, Syncopation을 사용하고 삶과 죽음의 어두운곡은 단조로 사랑의 영원성인 희망적인 곡은 장조를 택하여 진행되었다. 논리적이고 다양한 진행은 선율위주의 적합한음을 고려한 브람스의 음색이 잘 나타나 있다. 가사에 있어서는 그의 신앙심을 잘 나타내주고 있듯이 성경의 말씀을 텍스트로 하여 삶의 헛됨과 죽음, 믿음 소망 사랑의 영원성과 그중의 사랑은 제일로 무엇에 있든지 사랑으로 행해야함을 강조하고 있다. 곧 삶과 죽음 그 모든 것이 하나님중심으로 하나님과 함께해야함을 나타내고 있는 것이다. 이곡은 고전주의 형식을 엄격히 고수하면서도 가장 낭만적경향의 음악으로 견고한 구조와 다양한 변화의 표현은 브람스의 음악적 특색으로 이 곡에서 잘 나타나 있음을 알 수 있었다. German Lieds in the 19th-century romanticism were born in a free world where individual liberty and equality were endorsed and individualistic personality was upheld in the wake of "the French Revolution" influenced by the Enlightenment. The combination of melodies based on the 18th-century German poems and folksongs with key instrument music consummated in the classical period brought about a new genre of Lied in the 19th-century German artistic song world. This study is designed to look into how Lieds were born and grew up in the 19th-century Germany, putting major emphases on the Vier ernste Gesange Op.121 composed by Brahms. Through the musical perspective of Brahms, his life, musical enthusiasm, creativity and his musical traits were explored. Additionally, his musical profundity was looked into by analyzing his works. Brahms made frequent use of the strophic form in his works, but this work is in the through-composed form. In this work, Brahms, who lived in the classical period, used the sonata form, which was representative of the classical period. In the matter of harmony, he omitted the 3rd note which does not go with the musical rule and used diminish notes in order to express metaphors not easily expressed by the lyrics. In one musical clause, he used a variety of rhythmical methods like hemiola rhythm, cross rhythm and syncopation. He chose gloomy minors for melodies of life and death and adopted bright majors for melodies of perpetual love. Logical and multifarious developments of his music expose his musical tones that take into account his orientation toward melody preference. In the matter of lyrics, he expressed his deep faith in God by citing biblical phrases. He emphasized the transience of life and the eternity of belief, hope and love, out of which love was argued to be the most important. Namely, he argued that everything including life and death should be dealt with under the guidance of God. This work is one of the most romantically oriented pieces while sticking strictly to the classical form, and its expressions of firm structure and varied changes well show the musical traits of Brahms.

Friedrich Holderlin의 祖國讚歌(Die Vaterlandische Gesange)에 關한 硏究 : 起源과 構造的 特徵을 中心으로

장영태 서울大學校 大學院 1972 국내석사

Johannes Brahms의 歌曲 'Vier ernste Gesange' op. 121에 나타난 浪漫的인 要 素의 硏究

정대규 嶺南大學校 1983 국내석사