졸업앨범 작품분석 : 졸업앨범 김만영의 자작곡 “준비됐나요” , “가끔씩 그대 생각이 또 날 때면” , “내 사랑이 음악이 되어 너에게” 를 중심으로 = An Analysis of a work for a

국문 초록 (Abstract)

［국문초록］

졸업앨범 작품분석
졸업앨범 김만영의 자작곡
1. 준비됐나요
2. 가끔씩 그대 생각이 또 날 때면
3. 내 사랑이 음악이 되어 너에게
위 세 작품을 중심으로

지도교수 : 최 태 완

음악학과 컨템퍼러리뮤직 전공
김 만 영

본 논문은 서경대학교 대학원 컨템퍼러리뮤직의 석사 과정동안의 함축·함양된 지식에 대한 역량을 입증하는 논문이다. 수록되어진 3가지 작품에 대한 배경과 의도, 작품의 형식, 선율의 형식, 리듬 형식, 화성 형식을 기술하였다.

1. 준비됐나요
2. 가끔씩 그대 생각이 또 날 때면
3. 내 사랑이 음악이 되어 너에게

위 3가지 작품으로 구성되어져 있으며 석사과정에서의 학습내용을 작품 가운데 도입하였다. 그에 따른 분석의 입체감을 더하기 위해 감성적 서술 또한 더하여졌으며 리듬, 화성, 멜로디라는 재료와 편곡적 요소가 자연스레 도입됨으로써 작품들을 창작하였고 완성하여 나갔다. 필자는 작품의 대중성을 추구하는 바이기에 억지스럽지 않은 화성과 선율의 자연스러움에 주안점을 두었다. 3가지 작품의 악기편성은 Drum, Bass, Guitar 의 밴드적 구성을 근간으로 하여 장르의 세분화와 음악적 공간감의 부여, 음색의 다채로움을 더하기 위하여 Rhodes Piano, Egg shaker, chime bell 등을 도입하여 편곡의 다양성을 추구 하였다. 수록되어진 작품들은 전음계(Diatonic Scale)를 기반으로 하여 창작에 임하였으며 전위화음(Inversion Chord),차용화음(Modal Interchange)등의 적용, 전조(Key Change) 등의 도입으로 역동성과 편곡의 풍성함을 추구하였다. 본 논문은 필자가 음악인으로의 입장으로써는 우리의 삶 가운데 “음악의 역할이란...”에 대한 고뇌와 “음악은 어떠하여야 하는 가” 에 대한 고뇌 가운데 창작되어진 작품들이며 또한 음악인과 동시에 학도로써 음악의 학문적 객관성과 편곡의 배치에 대한 이유의 타당성을 주장하고자 하였다. 즉 작품·음악 가운데 모든 배치와 생략에 대한 고찰을 기술하였으며 이에 대한 객관성을 논문을 통하여 드러내려 하였다.

다국어 초록 (Multilingual Abstract)

Abstract

Interpretation of the Master Thesis


Kim Man Young
Contemporary of Music
Graduate School
Seokyeong University


This thesis was written to prove the knowledge that have been developed and implied during the Contemporary Music master’s course at Seokyeong University. I have included the three works’ background, purpose, structures, melodic form, rhythmic form, and harmonic form.

1. Are You Ready
2. When I Think of You Again
3. My Love as Music to You

The thesis is composed of the three pieces above, and the learning content of the master’s course is introduced in the middle. To add the three dimensional effect to the analysis of the three pieces, emotional description has been added as well. The main elements: rhythm, harmony, and melody were introduced naturally and the arrangement helped to create and complete the pieces. Since the writer had sought after the popularity of the pieces, he focused on the naturalness.
The instruments played in the three pieces consist of the drums, guitar, and bass guitar which are the basis for the band’s setup. The Rhodes Piano, Egg shaker, and chime bell have been added to express the segmentation of genres, the sense of space, and colorful tone. The pieces contain the Diatonic Scale as the basis, and the Inversion Chord, and Modal Interchange also appear. There are 9th, 11th, 13th notes that apply tension, and a key change that pursue the fullness of dynamics and the arrangement.
The writer has written this thesis in the point of view of a musician. The three pieces were composed while thinking about “What is the role of music in our lives,” and “What the music should be?” Furthermore, the writer wanted to argue about the academic objectivity of music, and the logic behind the arrangement placement. In other words, the writer wanted to consider all the arrangements and omissions in all the pieces, and wanted to show the objectivity through this thesis.

국문 초록 (Abstract)

［국문초록］

졸업앨범 작품분석
졸업앨범 김만영의 자작곡
1. 준비됐나요
2. 가끔씩 그대 생각이 또 날 때면
3. 내 사랑이 음악이 되어 너에게
위 세 작품을 중심으로

지도교수 : 최 태 완

음악학과 컨템퍼러리뮤직 전공
김 만 영

본 논문은 서경대학교 대학원 컨템퍼러리뮤직의 석사 과정동안의 함축·함양된 지식에 대한 역량을 입증하는 논문이다. 수록되어진 3가지 작품에 대한 배경과 의도, 작품의 형식, 선율의 형식, 리듬 형식, 화성 형식을 기술하였다.

1. 준비됐나요
2. 가끔씩 그대 생각이 또 날 때면
3. 내 사랑이 음악이 되어 너에게

위 3가지 작품으로 구성되어져 있으며 석사과정에서의 학습내용을 작품 가운데 도입하였다. 그에 따른 분석의 입체감을 더하기 위해 감성적 서술 또한 더하여졌으며 리듬, 화성, 멜로디라는 재료와 편곡적 요소가 자연스레 도입됨으로써 작품들을 창작하였고 완성하여 나갔다. 필자는 작품의 대중성을 추구하는 바이기에 억지스럽지 않은 화성과 선율의 자연스러움에 주안점을 두었다. 3가지 작품의 악기편성은 Drum, Bass, Guitar 의 밴드적 구성을 근간으로 하여 장르의 세분화와 음악적 공간감의 부여, 음색의 다채로움을 더하기 위하여 Rhodes Piano, Egg shaker, chime bell 등을 도입하여 편곡의 다양성을 추구 하였다. 수록되어진 작품들은 전음계(Diatonic Scale)를 기반으로 하여 창작에 임하였으며 전위화음(Inversion Chord),차용화음(Modal Interchange)등의 적용, 전조(Key Change) 등의 도입으로 역동성과 편곡의 풍성함을 추구하였다. 본 논문은 필자가 음악인으로의 입장으로써는 우리의 삶 가운데 “음악의 역할이란...”에 대한 고뇌와 “음악은 어떠하여야 하는 가” 에 대한 고뇌 가운데 창작되어진 작품들이며 또한 음악인과 동시에 학도로써 음악의 학문적 객관성과 편곡의 배치에 대한 이유의 타당성을 주장하고자 하였다. 즉 작품·음악 가운데 모든 배치와 생략에 대한 고찰을 기술하였으며 이에 대한 객관성을 논문을 통하여 드러내려 하였다.

목차 (Table of Contents)

• 목 차
• 제1장 서 론··················································································1
• 제2장 본 론··················································································2
• 제1절 “준비됐나요” 의 작품 분석················································2
• 가. 작품형식과 구조분석···································································2
• 1) 작품의 형식··············································································2
• 2) 구조의 분석··············································································3
• 나. 선율과 화성의 형식·····································································5
• 1) 선율의 형식··············································································5
• 2) 화성의 형식··············································································9
• 다. 리듬의 형식·············································································14
• 라. 악기의 구성 및 구간별 특징과 역할············································16
• 1) 악기의 구성·············································································16
• 2) 구간별 특징과 역할··································································18
• 제2절 “가끔씩 그대 생각이 또 날 때면” 의 작품 분석·············24
• 가. 작품형식과 구조분석··································································24
• 1) 작품의 형식·············································································24
• 2) 구조의 분석·············································································25
• 나. 선율과 화성의 형식···································································28
• 1) 선율의 형식·············································································28
• 2) 화성의 형식·············································································32
• 다. 리듬의 형식··············································································36
• 라. 악기의 구성 및 구간별 특징과 역할············································37
• 1) 악기의 구성·············································································37
• 2) 구간별 특징과 역할··································································39
• 제3절 “내 사랑이 음악이 되어 너에게” 의 작품 분석···············48
• 가. 작품형식과 구조분석··································································48
• 1) 작품의 형식·············································································48
• 2) 구조의 분석·············································································48
• 나. 선율과 화성의 형식···································································51
• 1) 선율의 형식············································································51
• 2) 화성의 형식············································································55
• 다. 리듬의 형식·············································································59
• 라. 악기의 구성 및 구간별 특징과 역할···········································62
• 1) 악기의 구성············································································62
• 2) 구간별 특징과 역할·································································64
• 제3장 결 론················································································70
• 참고문헌·····················································································72
• 부록 (악보: Lead sheets)······················································73
• Abstract·····················································································83