베베른(Anton Webern)의 칸타타II, Op. 31 분석연구

다국어 초록 (Multilingual Abstract)

ABSTRACT＊ A thesis submitted to the committee of Graduate School, Chungnam National University in partial fulfillment of the requirements for the degree of Master of Arts in Music Conferred in February 2017.
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Study on Anton von Webern,
CantataⅡ, Op. 31



Ji-Seon Kim




Department of Music, Graduate School
Chungnam National University
Daejon, Korea


(Supervised by Professor Soon-Hee Pack)


Webern's last work, Cantate II, Op. 31 has the biggest scale and it consisted 6 movement. It has been analized a composition by lyrics for each movement, usage of serial, and a present of symmetry and polyphonic of the melody, the harmony, and the rhythm.
The first movement only have the introductions and it has been composed by a Two-part form. Also, four series, P₀(Prime), I₀(Inversion), RI₀(Retrograde Inversion), and R₀(Retrograde), appear a base solo, a harmony, and an instrument melody of two groups of six notes. At this movement, not only series structure, melody tone and rhythm by a form appear symmetry but the whole movement was written by using a symmetry structure.
The second movement is Three-part form which Prime form and Retrograde form appear alternatively with Major 2nd interval in the base solo melody. Also, chord with two to three shows pointillism by changing the instruments.
The third movement is quartic form. At part A, Retrograde series, at part B, Prime series, at part C, Retrograde Inversion series, and at part D, Inversion series were used and they were switched by symmetric form. At each part, four series were appeared with respect to symmetry relationship of Augment 4th-minor 3rd-Augment 4th. The melody which appears as Canon, Female chorus and soprano solo, were mixed well with individually or together and the instrument also sequence or sometimes independently.
The forth movement has symmetric on both I₆ series and RI₆ series for part A and part A’ also symmetric on both P₆ and R₆ series even for the rhythm. Say F# is a datum axis, both series are also symmetry. As explained, the melody progress under the series but chord appears group of three to four notes with pointillism.
The fifth movement is sequence of Mixed chorus, therefore, it starts four series among same types of R series but only soprano series continuously follows until soprano solo perfectly. At part B, voice only appears soprano solo and it goes by R₅-I₂-R₄-I₁ series. At instrument point of view, two to four chord groups appear pointillism.
The sixth movement is only strophic form and it contains three phrases. Mixed chorus melody appears canon and sequence each voice pairs with one instrument melody. Soprano and base, alto and tenor series have a retrogressive relation between them, therefore, it is possible to see a retrogressive structure from both two voice melody.
Cantate II, Op. 31 was formed a basic construction of the melody and the chord by using relationships of series with a careful plan. Therefore, symmetrical and polyphonic images from orchestration, melody, rhythm, and chord are very systematic and it shows Webern's unique classical and traditional aspects of silent and concise music.

목차 (Table of Contents)

• 목 차
• Ⅰ. 서 론 ............................................................................................ 1
• Ⅱ. 베베른 .......................................................................................... 3
• 1. 생애 ....................................................................................................... 3
• 2. 작품세계 ............................................................................................... 5
• 3. 작곡기법 ............................................................................................... 7
• 1) 12음기법 ........................................................................................... 7
• 2) 대칭구조 ........................................................................................... 7
• Ⅲ. 칸타타Ⅱ, Op. 31 분석 ............................................................. 10
• 1. 제1곡 ................................................................................................... 10
• 2. 제2곡 ................................................................................................... 18
• 3. 제3곡 ................................................................................................... 21
• 4. 제4곡 ................................................................................................... 26
• 5. 제5곡 ................................................................................................... 31
• 6. 제6곡 ................................................................................................... 38
• Ⅳ. 결 론 .......................................................................................... 42
• Bibliography ...................................................................................... 44
• ABSTRACT ....................................................................................... 45