맥도웰 Op.39〈12개의 에튀드〉피아노 교수법적 고찰|RISS 상세보기

국문 초록 (Abstract)

국문초록

피아노를 배울 때 연주를 위한 테크닉을 배우는 것 외에도 다양한 작곡가와 그들의 작품을 다루어보는 것은 중요하다. 여러 작곡가들과 그들의 작품에는 시대적, 문화적 특징이 나타나있을 뿐만 아니라 형식이나 조성, 음악적해석 등에 관한 아이디어들이 내재되어있기 때문이다. 이에 본 논문에서는 국내에 잘 알려지지 않은 맥도웰의 Op.39《12개의 에튀드》를 선택하여 그의 음악세계와 피아노 음악의 특징에 대해 알아보았다. 그리고 그의《12개의 에튀드》에서 나타나는 작곡 기법 적 특징에 대한 분석을 기초로 중급 수준의 테크닉이 어떻게 적용되었는지를 살펴보고 다양한 음악적 내용을 모색하여 보다 나은 연주를 위한 교수방안을 제시 하였다.
맥도웰은 19세기 말부터 20세기 초까지 교육자와 작곡가로 활동한 미국의 음악가이다. 그는 다수의 피아노곡을 작곡했는데 그 중에서도 성격소품과 모음곡이 많은 비중을 차지한다. 《12개의 에튀드》역시 성격소품으로 분류할 수 있는데 ‘연습곡’이라는 형식을 빌리고는 있지만 12곡 모두 표제가 있으며 묘사적인 성격을 지니고 있다. 또한 《12개의 에튀드》는 중급 난이도의 작품으로서 교사와 학생들에게 접근이 용이하다는 장점을 가지고 있으며 연주회용 레퍼토리로 활용할 수 있다. 이 작품을 통해 나타난 간단한 형식, 9화음과 11화음의 사용, 반복과 변형의 아이디어와 같은 내용들은 낭만시대 음악에서 쉽게 발견할 수 있는 특징들인데 3도권의 조성관계, 모드의 사용은 이 작품의 특별한 점으로 꼽을 수 있다. 다음으로 교사들이 연주지도를 위해 고려해야하는 템포, 리듬, 아티큘레이션과 같은 음악적 내용들은 서로 밀접한 연관성을 가진다는 것을 알 수 있었다. 교사는 학생들에게 위와 같은 음악요소들의 상관관계를 이해시키고 학생들이 연주를 통해 표현할 수 있도록 지도해야한다.
현대에는 외국의 여러 교재와 교수법들을 국내에서도 쉽게 접할 수 있어 교재에 대한 선택의 폭이 넓어졌지만 중급 이후의 교육은 여전히 테크닉 습득에 집중한 일부 유명 작곡가들의 작품을 다루는 경우가 많다. 훌륭한 연주를 위해서 테크닉 훈련이 필요한 것은 분명하지만 이는 연주를 위한 하나의 과정일 뿐이다. 따라서 교사는 바람직한 지도를 위해 폭넓은 음악적 지식을 가지고 있어야 하며 학생들이 음악의 여러 요소를 균형 있게 발전시킬 수 있도록 다양한 레퍼토리를 개발해야 한다. 또한 개개인에게 알맞은 교수법으로 수준 높은 교육을 제공하도록 노력해야 한다.

번역하기

국문초록 피아노를 배울 때 연주를 위한 테크닉을 배우는 것 외에도 다양한 작곡가와 그들의 작품을 다루어보는 것은 중요하다. 여러 작곡가들과 그들의 작품에는 시대적, 문화적 특징...

목차 (Table of Contents)

목 차
Ⅰ. 서 론 ········································································ 1
Ⅱ. 이론적배경 ································································· 4

목 차
Ⅰ. 서 론 ········································································ 1
Ⅱ. 이론적배경 ································································· 4
1. 에튀드(Etude)······························································· 4
2. 중급 수준의 테크닉 ························································ 8
3. 맥도웰의 음악세계와 피아노 음악의 특징 ····························· 11
Ⅲ. 멕도웰 <12개의 에튀드> 형식과 조성분석 ····················· 17
1. 사냥 노래 (Hunting Song) ··············································· 18
2. 타란텔라 풍으로 (Alla Tarantella) ······································ 19
3. 로망스 (Romance) ························································· 22
4. 아라베스크 (Arabesque) ················································· 24
5. 숲속에서 (In the Forest) ················································ 27
6. 난쟁이의 춤 (Dance of the Gnomes) ·································· 29
7. 목가 (Idyll) ································································· 31
8. 그림자 춤 (Shadow Dance) ············································· 33
9. 인터메조 (Intermezzo) ··················································· 36
10. 멜로디 (Melody) ························································ 37
11. 스케르치노 (Scherzino) ················································ 39
12. 헝가리언 (Hunggarian) ················································· 41
Ⅳ. 멕도웰 <12개의 에튀드> 음악적 해석과 지도방안 ········· 45
1. 사냥 노래 (Hunting Song) ··············································· 45
2. 타란텔라 풍으로 (Alla Tarantella) ······································ 52
3. 로망스 (Romance) ························································· 58
4. 아라베스크 (Arabesque) ·················································· 64
5. 숲속에서 (In the Forest) ················································· 72
6. 난쟁이의 춤 (Dance of the Gnomes) ··································· 77
7. 목가 (Idyll) ································································· 83
8. 그림자 춤 (Shadow Dance) ·············································· 89
9. 인터메조 (Intermezzo) ···················································· 94
10. 멜로디 (Melody) ························································ 100
11. 스케르치노 (Scherzino) ················································ 105
12. 헝가리언 (Hunggarian) ················································ 109
Ⅴ. 결 론 ···································································· 114
부록-맥도웰 작품목록 ···················································· 117
참고문헌 ······································································ 122