응상능（应尚能） 예술가곡 연구 : 서양 음악어법의 수용과 가사 표현을 중심으로- = A Study on the Art Songs of Ying Shangneng: Focusing on Western Musical Idioms and Textual Expression

다국어 초록 (Multilingual Abstract)

This study aims to investigate the musical characteristics and compositional tendencies of the art songs of Ying Shangneng （應尚能, 1902–1973）, a composer, vocalist, and educator who played a significant role in the formation and development of modern Chinese vocal music. During the early twentieth century, Chinese music underwent a profound transformation as Western musical systems were introduced and gradually integrated into traditional musical culture. Within this historical context, Chinese art songs emerged as an independent genre that combined Western formal structures, harmonic language, and piano accompaniment techniques with the tonal characteristics of the Chinese language, the rhythmic organization of classical Chinese poetry, and melodic idioms derived from traditional Chinese music.
Ying Shangneng occupies an important position in this process of musical modernization. As a leading vocal pedagogue and composer, he sought to establish a vocal style that reconciled Western bel canto techniques with the linguistic and expressive characteristics of the Chinese language. In particular, he advocated the principle of ’Yi Zi Xing Qiang’（以字行腔）, a compositional and pedagogical concept that emphasizes shaping melodic lines according to the pronunciation, tonal contour, and semantic meaning of Chinese words. This principle became one of the most influential theoretical foundations of modern Chinese vocal music and significantly contributed to the development of Chinese vocal composition and pedagogy.
Despite Ying Shangneng’s importance in the history of Chinese music, scholarly studies devoted to his art songs remain relatively limited, especially in Korea. Therefore, this study seeks to provide a systematic examination of his representative vocal works and to clarify the ways in which traditional Chinese aesthetics and Western musical language coexist within his compositional style.
Six representative art songs were selected according to the literary genres of their texts and their significance within Ying Shangneng’s oeuvre. The selected works include the classical poetry-based songs ‘Nong Ci’（阿侬词） and ‘Hen’（恨）, the revolutionary poetry-based songs ‘Diao Wu Song’（吊吴淞） and ‘Wu Yi’（无衣）, and the modern poetry-based songs ‘Chun Xu’ （春绪） and Ye Ge（夜歌）. The study first examines the historical formation and development of Chinese art songs and then explores Ying Shangneng’s life, artistic activities, and musical aesthetics. Through detailed musical analyses, it investigates formal structure, melody, harmony, rhythm, piano accompaniment, text setting, and the relationship between poetic meaning and musical expression. Particular attention is paid to the interaction between vocal melody and piano accompaniment, the application of ‘Yi Zi Xing Qiang’, and the integration of Chinese and Western musical elements.
The findings reveal that Ying Shangneng established a distinctive compositional language by creatively synthesizing traditional Chinese literary aesthetics with Western musical techniques.
First, in the songs based on classical poetry, the repetitive and parallel structures characteristic of traditional Chinese verse are reflected in the musical design. In ‘A Nong Ci’, intimate and lyrical emotions are expressed through stepwise melodic motion, a relatively narrow vocal range, and stable accompaniment patterns, while emotional expansion is conveyed through wider melodic contours and increased rhythmic activity. In ‘Hen’, restrained emotions gradually intensify through recurring motives, limited melodic gestures, tonal shifts, and chromatic inflections.
Second, the revolutionary poetry-based songs exhibit stronger dramatic expression and collective emotional energy. In ‘Diao Wu Song’ and ‘Wu Yi’, march-like rhythmic patterns, repetitive motives, dynamic contrasts, and vigorous accompaniment figures effectively convey the themes of national crisis, resistance, and patriotic determination. The piano accompaniment functions not merely as harmonic support but as an active musical force that shapes dramatic tension and reinforces the narrative content of the text.
Third, the songs based on modern poetry demonstrate a more refined and introspective mode of expression. In ‘Chun Xu’, natural imagery and emotional sensitivity unfold gradually through smooth melodic contours and balanced accompaniment structures. In ‘Ye Ge’, harmonic ostinato patterns, chromatic harmonic movement, and subtle variations in texture create recurring cycles of tension and release that musically portray nocturnal scenery and inner contemplation. The ostinato accompaniment serves as an important structural device that simultaneously provides formal unity and emotional continuity.
The analyses further demonstrate that Ying Shangneng consistently places textual meaning at the center of musical construction. Through the principle of ‘Yi Zi Xing Qiang’, melodic contours frequently correspond to the tonal inflections and prosodic characteristics of the Chinese language, thereby strengthening the relationship between language and music. At the same time, Western harmonic progressions, formal organization, and piano accompaniment techniques are employed to enrich emotional expression and structural coherence. These features reveal a creative process in which Chinese cultural traditions and Western compositional practices are not merely juxtaposed but organically integrated.
In conclusion, Ying Shangneng’s art songs represent a distinctive achievement in modern Chinese vocal music. By combining the linguistic characteristics of Chinese, the poetic aesthetics of traditional literature, and the compositional resources of Western art music, he established a unique musical language that reflects both national identity and modern artistic expression. His works demonstrate that the development of Chinese art song was not a simple imitation of Western models but rather a process of creative adaptation and cultural synthesis. Therefore, this study contributes to a deeper understanding of the musical characteristics and aesthetic values of Ying Shangneng’s art songs and provides a foundation for future performance practice, vocal pedagogy, and scholarly research in the field of Chinese vocal music.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구의 목적과 필요성 1
• 2. 연구범위 및 방법 3
• 3. 선행연구 검토 및 연구의 제한점 4
• Ⅱ. 본론 8
• 1. 중국 예술가곡의 형성과 발전 과정 8
• 1) 중국 예술가곡의 형성 9
• (1) 서양 음악 체계의 수용 10
• (2) 중국 민족 음계와 선율 어법의 활용 11
• (3) 중국어 성조와 전통 시문학의 반영 13
• 2) 중국 예술가곡의 발전 과정 16
• (1) 형성기(1920–1949) 17
• (2) 확립기(1949–1965) 19
• (3) 정체기(1966–1976) 20
• (4) 발전기(1978–현재) 21
• 2. 응상능의 생애와 음악세계 22
• 1) 응상능의 생애 22
• (1) 성장 및 음악적 기초 형성기(1902–1923) 22
• (2) 해외 유학과 서양 음악 수용기(1923–1930) 23
• (3) 성악 교육 및 창작 활동 확립기(1930–1937) 24
• (4) 전쟁기 음악교육 및 사회 활동기 (1937–1949) 24
• (5) 성악 이론 정립 및 말년 활동기(1949–1973) 25
• 2) 응상능의 음악세계 26
• (1) 응상능 예술가곡의 음악적 특징 26
• (2) 작품 개관 31
• 3) 소결 36
• 3. 응상능 예술가곡 작품 분석 37
• 1) 고시사를 기반으로 한 예술가곡 37
• (1) <아농사(我侬词)> 38
• (2) <한(恨)> 47
• 2) 혁명시를 기반으로 한 예술가곡 58
• (1) <조오송(吊吳淞)> 58
• (2) <무의(无衣)> 70
• 3) 현대시를 기반으로 한 예술가곡 82
• (1) <춘서(春绪)> 82
• (2) <야가(夜歌)> 92
• 4) 소결 101
• III. 결론 105
• 참고문헌 110
• 부록 114
• Abstract 131