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      Schonberg의 無調音樂 硏究  :  Centered on Pierrot Lunaire = A Study on Schonberg's Atonal Music

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      https://www.riss.kr/link?id=A2038654

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      다국어 초록 (Multilingual Abstract)

      Schonberg is one of the world-famous composers who originated atonal music by twelve-tone technique and established the new expression in music. His masterpiece, Pierrot Lunaire made an epoch in the history of music as an atonal music using free serie...

      Schonberg is one of the world-famous composers who originated atonal music by twelve-tone technique and established the new expression in music. His masterpiece, Pierrot Lunaire made an epoch in the history of music as an atonal music using free series and caused the appearance of twelve-tone music in the later days.
      The followings are the general characteristics of this piece.
      1. This piece used by voice and eight instruments was taken a soloist as an instrument, and written like chamber music for a human voice.
      2. The use of magnification of human voice by sprechstimme (speaking voice or
      speech-song) showed the diversity of tone-color.
      3. The characteristics of technique in this piece.
      1) The embodiment of atonal melody of non-commonsense interval by free series.
      2) The use of various and complexional rhythm for complicated atmosphere.
      3) The construction of atonal chord for a sense of etreme instability.
      4) The practical use of extreme variation of them used by the method of projection.
      5) The composition of form that is not seceded from the traditional method.
      This epoch-making techniques reached the peak in those days. And nowadays they
      exercise an important effect upon the study of modern music.

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      목차 (Table of Contents)

      • Ⅰ. 序 論
      • Ⅱ. Sehonberg의 主要作品
      • Ⅲ. 作 品 論
      • 1. 詩와 音樂
      • 2. Sprechstimme
      • Ⅰ. 序 論
      • Ⅱ. Sehonberg의 主要作品
      • Ⅲ. 作 品 論
      • 1. 詩와 音樂
      • 2. Sprechstimme
      • 3. 技法의 特徵
      • 가. 施 律
      • 나. 리 듬
      • 다. 和 聲
      • 라. 變 奏
      • 마. 形 式
      • Ⅳ. 結 論
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