피아노 연탄(Piano Four Hands) 편곡 기법 연구- 실용음악 양식의 적용을 중심으로- = A Study of Arrangement Technique for Piano Four Hands [- Focusing on the Application of Jazz & Pop Styles]

국문 초록 (Abstract)

<국문 초록>
피아노 연탄(Piano Four Hands) 편곡 기법 연구 - 실용음악 양식의 적용을 중심으로
지도교수 마 도 원 실용음악전공 박 지 선
음악을 포함한 모든 예술은 창작된 당시의 시간을 넘어 오랜 기간의 역사 와 발전해 온 과정을 담고 있으며 미래의 전망을 투영하는 내용을 포함하기 도 한다. 음악 양식 중의 하나인 피아노 연탄은 클래식 음악을 거쳐 현대에 이르기까지 다양한 형태로 발전되어 온 연주 양식이라 할 수 있지만, 다른 음악에 비해 음악적 분석이나 편곡 기법에 관한 체계적인 연구는 찾아보기 어렵다.
본 논문은 피아노 연탄을 작곡 또는 편곡하는 데 필요한 편곡 기법을 연구 하기 위해 몇 가지의 관점으로 접근하였다. 먼저, 피아노 연탄의 편곡을 위 해 사용되어 온 전통적인 방식들을 이해하기 위해 기존의 클래식 음악 중 잘 알려진 피아노 연탄의 작품을 골라 편곡의 특징을 분석하였다.
이후, 현대의 작품 중 새롭게 시도된 편곡 기법들과 이들이 적용된 음악적 사례를 조사하였으나, 피아노 연탄을 체계적으로 정리한 자료와 음악적 사 례를 찾기 어려웠고 이에 선택한 방법은 최근 필자가 관심을 두고 꾸준히 작업해 오던 피아노 연탄 편곡 작업 안에서 분석 대상을 찾는 것이었다.
마지막으로 기존 피아노 연탄의 기술적 특징과 현시대에 존재하는 다양한 음악 양식은 물론, 현대적인 편곡 방식에 실용음악 양식을 반영하는 실험을 진행하였고, 이를 통해 연구된 결과는 다음과 같다.

첫째, 전통적인 피아노 연탄 작품에 사용된 편곡적 특징을 4가지 작품을 통해 분석한 결과, 아래와 같이 9가지의 영역으로 분류할 수 있었다.
가. 넓은 음역을 활용한 두터워진 성부와 리듬적 요소 나. 코랄 풍의 스타일로 풍성해진 화성
다. 대위법적 진행 및 자유대위법
라. 모방대위법의 악곡 전개
마. 4중주를 연상시키는 실내악적 표현
바. 다수의 악기 편성 구조의 관현악적 표현
사. 주제 선율의 교환으로 인한 주선율과 화성의 발전 아. 서로 호응하는 연주자 간의 대화
자. 연탄 특유의 연주자 사이에 교차 연주

둘째, 연구를 위한 자료가 한정적이었으나 앞서 분류한 9가지 특징을 현대 음악에 적용한 예시를 통해 실제로 사용된 변화를 관찰하던 중 클래식 음악 기법이지만 연탄 작품에 사용된 새로운 예시로, 대위법 진행에서 주선율을 조금씩 다른 방식으로 변형하여 연주하는 헤테로포니(Heterophony) 양식과 기존 선율을 짧게 분절하여 대체하는 동기의 축소(Motive Diminution) 2가지의 새로운 특징을 발견할 수 있었다.

셋째, 연구 대상에 포함된 필자의 연탄곡을 분석한 결과 전통적인 피아노 연탄 편곡 특징 이외의 7가지의 음악적 요소들을 발견할 수 있었다.
가. 서로 다른 테마가 동시 연주되는 타 작품의 주제 차용(Theme Parody)
나. 박자의 단위(Pulse) 변화로 같은 템포 안에 다른 박자(Meter)
다. 대조적인 폴리리듬이 특징인 폴리메트릭(Polymetric)
라. 재즈의 즉흥연주(Improvisation) 요소
마. 협주곡(Concerto) 제시부 형식 반영
바. 주제의 변형을 이용한 변주곡 형식
사. 타악기적 효과와 동작 효과

넷째, 피아노 연탄에 실용음악 양식을 반영하는 과정에서 리듬, 화성이 주 된 역할을 하고 있었음을 발견할 수 있었고, 이는 다음과 같이 분류할 수 있었다.
가. 리듬 양식의 재구성
1 라틴 재즈(Latin Jazz)의 초기 형태 아프로 쿠반(Afro-Cuban)
2 브라질의 민족 음악 삼바(Samba)
3 삼바(Samba)에서 파생되어 모던 재즈와 결합한 보사노바(Bossa Nova) 4 초기 재즈의 발판이 된 래그타임(Ragtime)
5 역동적인 리듬의 스윙(Swing)
6 리듬 앤드 블루스(R&B), 소울(Soul) 등이 결합한 펑크(Funk)
7 펑크에서 파생된 리듬 디스코(Disco)

나. 화성의 재구성(Reharmonization)
1 Modal Interchange
2 Hybrid Chord
3 Upper Structure Triad
4 Pedal Point
5 Line Cliche
6 Approach Chord Progression

본 논문의 연구는 피아노 연탄에 대해 분석 및 구체적인 연구 자료를 찾기 어려운 실정에서, 작은 초석이 되고자 하는 바람에 시작하였고 본 논문을 계기로 차후 피아노 연탄에 관한 연구가 활발히 진행되기를 기대한다.

다국어 초록 (Multilingual Abstract)

ABSTRACT
A Study of Arrangement Technique
for Piano Four Hands
- Focusing on the Application of Jazz & Pop Styles
Supervised by Professor Ma, Do Won Department of Applied Music Park, Ji Sun
All forms of art, including music, encapsulate a rich history and development that extends beyond the time of their creation, often incorporating reflections of the future. One specific musical form, piano improvisation, can be considered an evolving performance style that has developed in various forms from classical music to contemporary times. However, in comparison to other genres of music, it is challenging to find comprehensive studies on musical analysis or arrangement techniques for piano improvisation.
This paper approached the study of arranging techniques necessary for composing or arranging piano improvisations from several perspectives. Firstly, to understand the traditional methods employed in the arrangement of piano improvisations, the paper analyzed the arranging characteristics of well-known piano improvisation works from classical music.

Subsequently, the paper investigated newly attempted arranging techniques in contemporary works and examined musical cases where these techniques were applied. However, it was challenging to find systematically organized resources and musical examples for piano improvisation. Therefore, the chosen approach involved analyzing subjects within the realm of piano improvisation that the author had consistently worked on and found intriguing.

Finally, the paper conducted experiments reflecting practical musical forms in contemporary arranging methods, considering both the technical features of existing piano improvisations and various contemporary musical forms. The research yielded the following results.

Firstly, through the analysis of four traditional piano improvisation works, four organizing characteristics for arranging were identified and classified into nine areas as follows.
A. Thickened texture and rhythmic elements using a wide range of pitches
B. Harmonic richness in a chorale-like style
C. Counterpoint progression and free counterpoint
D. Development of imitative counterpoint
E. Chamber music expression evoking four-part harmony
F. Orchestral expression with a structure of multiple instruments
G. Development of theme melody and harmony through the exchange of thematic material
H. Dialogue between responsive performers
I. Cross-playing among performers unique to improvisation

Secondly, despite limited research materials, the paper observed actual variations by applying the identified nine characteristics to contemporary music example, new instances were found in charcoal works where classical music techniques were utilized. Two new features, heterophony in transforming harmonic progressions with slight variations in melodic lines and motive diminution in shortening existing melodies, were discovered.

Thirdly, the analysis of the author's included piano improvisation pieces revealed seven additional musical elements beyond traditional piano improvisation characteristics.
A. Theme parody from different themes played simultaneously in other works
B. Pulse unit variation for different meter within the same tempo
C. Polymetric feature with contrasting polyrhythms
D. Elements of jazz improvisation
E. Reflection of concerto exposition form Variation of themes in variation form using Variation of themes in variation form using transformation.
F. Percussive effects and action effects

Lastly, in the process of reflecting practical musical forms in piano improvisation, rhythm and harmony played a predominant role. This was classified as follows.
A. Reconstruction of rhythm forms
1 Early forms of Latin jazz(Afro-Cuban)
2 Brazilian national music Samba
3 Bossa Nova derived from Samba and combined with modern jazz 4 Ragtime, a precursor to early jazz
5 Swing with dynamic rhythmic elements
6 Funk combining R&B, Soul, etc.
7 Rhythm Disco derived from funk
B. Reconstruction of harmony 1 Modal Interchange
2 Hybrid Chord
3 Upper Structure Triad
4 Pedal Point
5 Line Cliche
6 Approach Chord Progression

This research, initiated due to the difficulty in finding specific research data for piano improvisation, hopes to serve as a small foundation. The paper anticipates that this study will encourage further active research on piano improvisation in the future.

목차 (Table of Contents)

• 목차
• I. 서 론
• 1. 연구 내용과 목적 ·················································································· 1
• 2. 연구 범위와 방법 ················································································· 3
• II. 본 론
• 1. 피아노 연탄의 개념과 발전 과정 ··························································· 5
• 2. 피아노 연탄의 주요 작곡가 및 작품 ······················································ 8
• 3. 피아노 연탄의 역할과 활동 형태 ························································· 14
• 4. 피아노 연탄의 음악적 특성 ································································· 17
• 1) 피아노 연탄의 장점과 특징 ································································· 17
• 2) 피아노 연탄 편곡 및 연주의 특성 ························································ 18
• 5. 기존 피아노 연탄 편곡 분석의 개요 ····················································· 21
• 1) 작품의 개요 ······················································································· 21
• (1) 베토벤 <네 손을 위한 소나타 D장조> ··············································· 21
• (2) 브람스 <헝가리 무곡> ···································································· 22
• (3) 드보르자크 <슬라브 무곡> ····························································· 23
• (4) 라벨 <어미 거위 모음곡> ······························································· 24
• 2) 편곡적 특징 분석 ············································································· 25
• (1) 넓은 음역의 활용 ············································································ 25
• (2) 코랄 풍의 편곡 ··············································································· 31
• (3) 대위법적 진행 ··············································································· 33
• (4) 모방대위법의 사용 ········································································ 37
• (5) 실내악적 표현 ··············································································· 40
• (6) 관현악적 표현 ··············································································· 43
• (7) 주제 선율의 교환 ··········································································· 49
• (8) 연주자 간의 대화 ··········································································· 52
• (9) 연주자 사이의 교차 연주 ································································ 58
• 6. 실용음악 양식에 적용된 편곡 ··························································· 60
• 1) 전통적인 피아노 연탄의 편곡적 특징의 적용 ······································ 61
• (1) 넓은 음역의 활용 ············································································ 62
• (2) 코랄 풍의 편곡 ··············································································· 63
• (3) 대위법적 진행 ················································································ 65
• (3-1) 헤테로포니(Heterophony) 양식 ··············································· 66
• (3-2) 동기의 축소(Motive Diminution) ············································ 67
• (4) 모방대위법의 사용 ········································································· 68
• (5) 실내악적 표현 ················································································ 69
• (6) 관현악적 표현 ················································································ 70
• (7) 주제 선율의 교환 ············································································ 72
• (8) 연주자 간의 대화 ············································································ 73
• (9) 연주자 사이의 교차 연주 ································································· 74
• 2) 피아노 연탄의 편곡을 위한 새로운 시도들 ········································· 75
• (1) 타 작품의 주제 차용(Theme Parody) ··········································· 75
• (2) 박자의 단위(Pulse) 변화 ······························································· 81
• (3) 폴리메트릭(Polymetric) ······························································ 86
• (4) 즉흥연주(Improvisation) 요소 ···················································· 88
• (5) 협주곡(Concerto) 제시부 형식 반영 ············································ 93
• (6) 변주곡 형식 ·················································································· 95
• 1 선율 변주(Melodic Variation) ······················································· 96
• 2 박자 변주(Time Variation) ···························································· 97
• 3 동기 변주(Motivic Variation) ······················································ 100
• 4 대위법적 변주(Contrapuntal Variation) ····································· 102
• 5 리듬 변주(Rhythmic Variation) ·················································· 106
• 6 조성 변주(Tonal Variation) ························································· 109
• (7) 타악기적 효과와 동작 효과 ··························································· 112
• 3) 실용음악 양식의 적용을 위한 편곡 의도 ········································· 115
• (1) 리듬 양식의 재구성 ······································································ 115
• 1 Afro-Cuban ················································································ 116
• 2 Samba ························································································ 119
• 3 Bossa Nova ··············································································· 121
• 4 Ragtime ····················································································· 123
• 5 Swing ························································································· 125
• 6 Funk ··························································································· 127
• 7 Disco ·························································································· 130
• (2) 화성의 재구성(Reharmonization) ··········································· 132
• 1 Modal Interchange ··································································· 133
• 2 Hybrid Chord ············································································ 136
• 3 Upper Structure Triad ····························································· 139
• 4 Pedal Point ··············································································· 142
• 5 Line Cliche ··············································································· 145
• 6 Approach Chord Progression ··············································· 147
• ᄀ. Diatonic Approach ································································ 148
• ᄂ. Dominant Approach ····························································· 149
• ᄃ. Diminish Approach ······························································· 151
• ᄅ. Chromatic Approach ··························································· 153
• III. 결 론
• 1. 편곡의 분석적 특징 ···································································· 155
• 2. 새로운 시도와 편곡적 실험 ························································ 156
• 3. 실용음악 양식의 적용 ································································ 157
• 4. 피아노 연탄의 미래 전망 ··························································· 159
• 참 고 문 헌 ···················································································· 160
• 부 록 (편작품 인용 목록과 음원 링크) ············································· 163
• ABSTRACT ················································································ 165