라흐마니노프의 6개의 가곡（Шесть романсов）, соч. 38 연구 : 러시아 상징주의 시의 음악적 구현 = A Study on Sergei Rachmaninoff’s S ix Romances, Op. 38 - The Musical Realization of Russian Symbolist Poetry -

다국어 초록 (Multilingual Abstract)

This dissertation examines Sergei Rachmaninoff’s Six Romances, O
p. 38 as a musical realization of Russian Symbolist poetry. As one o
f the composer’s most significant late vocal works, Op. 38 occupies
a distinctive place in his output by preserving the lyrical intensity of
the romance tradition while simultaneously adopting a more refined
and suggestive musical language characterized by tonal ambiguity, c
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oloristic harmony, fluid rhythm, and heightened sensitivity to poetic
atmosphere. Rather than approaching this cycle merely as an extens
ion of late Romantic expressivity, this study reconsiders it as a uniq
uely integrated artistic form in which Russian Symbolist poetics and
impressionistic musical idioms converge.
To establish this perspective, the dissertation first explores the cul
tural and artistic context of early twentieth-century Russia, with par
ticular attention to the aesthetic features of Symbolist literature. It t
hen examines the literary background of the poetic texts selected by
Rachmaninoff and analyzes the symbolic structures embedded within
them. Special emphasis is placed on such Symbolist traits as sugges
tion, ambiguity, recurring imagery, inwardness, and suspended temp
orality. These literary qualities provide the interpretive foundation fo
r understanding how poetic language is transformed into musical ex
pression in Op. 38.
The analytical portion of the study offers a comprehensive examin
ation of each of the six songs in the cycle, focusing on melodic con
struction, rhythmic and metric treatment, harmonic movement, acco
mpanimental figuration, tonal design, vocal range and phrasing, and
the interaction between text and music. Through close reading of th
ese musical elements, the dissertation demonstrates that Rachmanin
off does not simply illustrate or narrate the meaning of the poems.
Instead, he translates their symbolic imagery and emotional resona
nce into sound, allowing the music to embody states of uncertainty,
longing, distance, inward motion, and dissolution. Repeated motives,
pedal points, ambiguous cadences, chromatic inflections, parallel har
monic gestures, and timbre-oriented textures all contribute to a sou
nd world in which poetic images do not appear as fixed objects, but
as shifting, overlapping, and elusive presences.
The findings of this study reveal that Op. 38 achieves a particularl
y sophisticated relationship between poetry and music. Images such
as light, shadow, flowers, laughter, silence, absence, and desire are
not presented through direct musical depiction; rather, they are ren
dered through a fluid and atmospheric sonic language that mirrors t
he symbolic openness of the texts. In this sense, the cycle moves be
yond conventional text setting and becomes an autonomous musical
re-creation of Symbolist poetics. The voice and piano do not functio
n in a merely hierarchical relationship of melody and accompanimen
t, but instead participate together in shaping a multi-layered express
ive space in which the inner life of the poem is sonically realized.
At the same time, this dissertation argues that the musical langua
ge of Op. 38 should not be understood as a complete break from Ra
chmaninoff’s earlier style. On the contrary, the cycle demonstrates
how the composer’s characteristic lyricism and Russian emotional se
nsibility are transformed through engagement with newer aesthetic c
urrents. The result is a body of songs that stands at the intersectio
n of late Romantic inheritance and early modernist refinement. This
duality is one of the central reasons Op. 38 deserves greater schola
rly attention, especially in comparison with the more extensively stu
died piano and orchestral works of the composer.
Ultimately, Six Romances, Op. 38 may be understood as a major e
xample of the interaction between Russian literature and music in the early twentieth century. In this cycle, Rachmaninoff reconstructs t
he abstract, suggestive language of Symbolist poetry within the temp
oral and sonic structures of music. Through melody, harmony, rhyt
hm, timbre, and pianistic texture, he creates an expressive world th
at reaches beyond literal meaning and reveals deeper symbolic and
emotional dimensions. Op. 38 therefore stands not only as a crucial
achievement in Rachmaninoff’s late style, but also as a significant c
ontribution to the history of the Russian art song and to the broade
r study of poetry in music.
Keywords: Sergei Rachmaninoff, Six Romances, Op. 38, Russian Sym
bolism, art song, romance, impressionism, poetry and music, sonic r
ealization, symbolic imagery

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구의 목적 1
• 2. 연구 방법 및 제한점 3
• 3. 선행연구 검토 6
• Ⅱ. 본론 9
• 1. 이론적 배경 9
• 1） 20세기 초 러시아 예술 문화 흐름 9
• （1） 제1차 세계대전과 예술 환경 9
• （2） 제1차 세계대전 이후 예술의 내면화 경향 11
• 2） 러시아 상징주의의 형성과 외래 영향 13
• 3） 시적 이미지의 음악적 전환 15
• 4） 소결 18
• 2. 라흐마니노프의 생애와 음악적 특징 19
• 1） 생애 19
• 2） 음악적 특징 25
• 3. Op. 38에 수록된 시의 문학적 배경 36
• 1） 시인 구성과 러시아 상징주의의 흐름 36
• 2） 시의 주제와 이미지 양상 46
• 3） 시의 배열과 전체 구성 방식 49
• 4） 소결 51
• 4. Op. 38의 음악 분석 52
• 1） 제1곡 〈밤에, 나의 정원에서（Ночью в саду у меня）〉 52
• 2） 제2곡 〈그녀에게（К ней）〉 64
• 3） 제3곡 〈데이지꽃（Маргаритки）〉 80
• 4） 제4곡 〈피리 부는 사나이（Крысолов）〉 97
• 5） 제5곡 〈꿈（Сон）〉 115
• 6） 제6곡 〈아우!（АУ!）〉 129
• Ⅲ. 결론 140
• 참고 문헌 144
• Abstract 147