1990년대 부산 피아노 연주문화 현황 및 분석 = (A) study on the performance culture of piano during 1990s in Pusan

다국어 초록 (Multilingual Abstract)

This article focuses on the performance culture of piano in Pusan. By arranging and documenting performance date and venues, the title of performance, and the type of performance, which have been played from 1991 to 1999, I will present what it is and what it will be in piano performance culture in Pusan. In other words, I would show which composer and which composition was the favorite and how a piano concert was performed. Consequently, I would like to help plano players select repertories for concerts.
I describe and analyze raw and second data from personal calling, direct visiting, magazines, and concert pamphlet. There have been no more periods than this period in number and scale of piano concerts. The quality and quantity of performance environments have advanced drastically, for example, the development of concert form such as solo, ensemble, and joint concerts, the emergence of theme concerts, and the expansion of performance place.
I summarize this thesis at several points.
First, after the beginning of ,for instance, the Association of Piano Duo in Pusan, pianists in Pusan have made more piano performance groups during 1990s and group activity have significantly increased.
Second, pianists select works on their own tastes, so they don't have as much pressure on what they want to perform as they did in Pusan.
Third, the creative challenge to new performance, different from formal patterns from 1960 to 1990, caused significant progress to be made, so a variety of their piano performances has been made during 1990s.
Forth, as many Koreans have composed more piano works and pianists have pursued musical, cultural identity of Korea, many pianists have played korean composer's works more than before.
By suggesting two limits of this article, I would like to conclude my study.
Because not all concert halls in Pusan have preserved all of their records which has been played there, maybe there are several concerts being excluded. Another is that I have only researched professional pianists with over Master of Degrees who have played at the prestigious performance venues in Pusan such as Pusan Cultural Hall, Garam Art Hall, Concert Hall in Kyungsung University, and Pusan Citizen Hall. But I don't think this defects are likely to impair the purpose of this thesis. I greatly hope that this thesis will help the would-be piano performer in Pusan what repertoire they will play and how they will perform.

목차 (Table of Contents)

• 목차 = ⅰ
• 표목차 = ⅱ
• 그림목차 = ⅱ
• Ⅰ. 시작하며 = 1
• 1. 연구의 필요성과 목적 = 1
• 2. 연구의 범위와 방법 = 2
• Ⅱ. 피아노 연주회 총람 = 4
• Ⅲ. 분석 = 80
• 1. 피아노 작품별 연주회수 분석 = 81
• 1) 독주 = 81
• 2) 앙상블 = 97
• 3) 협주 = 104
• 2. 피아노 작곡가별 비중 분석 = 106
• 1) 외국 작곡가의 작품 분석 = 106
• ① 독주곡 분석 = 106
• ② 앙상블곡 분석 = 107
• ③ 협주곡 분석 = 109
• 2) 한국작곡가의 작품 분석 = 111
• Ⅳ. 맺으며 = 112
• 참고문헌 = 114
• Abstract = 115