클라리넷 연주에 있어서의 호흡법에 관한 연구 = Study of breathing in playing the clarinet

다국어 초록 (Multilingual Abstract)

In playing the clarinet, breathing is the most fundamental and important element, furthermore other elements are effected by breathing such as controlling the flow of air.
The employment of breathing in playing the clarinet uses abdominal breathing. The most fundamental step of breathing in playing is to maximize the capacity of the lungs. for that, the player should do abdominal breathing in the proper position. The proper position enables the capacity of the lungs maximized with an ideal state of the diaphragm.
The mouth should be the shape of comparably less outflow of air. The player should bite the mouthpiece in the most natural and comfortable condition. Without the support of breathing, good embochure cannot be obtained. In noticing difficult scales, the player can have great results with putting more emphasis on breathing than finger techniques. Breathing influences interval, tone color, and the balance of high tone and low tone. Moreover, it affects rhythm. Therefore, recognition of proper breathing is always needed in playing the clarinet.
Every person has a very different body, so the structure of lungs and the embochure are totally different. Similar embochures can result in very different sounds because the individuals physical structure varies from person to person. On the contrary very different embochures can result in very similar sounds.
Excessive inhaling of air can be a obstacle in the playing the clarinet. The inhaling only means the extention of the capacity of the lungs. The player should not extensively inhale while playing. Simple phrases need simple breathing.
The most fundamental preparation in playing the clarinet is to decide the control of breathing for the phrasing of the music. It is very important for the player to breathe suitably for the music, and the breathing will always change for each type of music.

목차 (Table of Contents)

• 목차 = ⅰ
• Ⅰ. 서론 = 1
• 1. 연구의 의의 및 목적 = 1
• 2. 연구의 방법 = 2
• Ⅱ. 클라리넷의 이론적 배경 = 4
• 1. 역사적 및 음향적 고찰 = 4
• 2. 구조 및 종류에 대한 고찰 = 11
• Ⅲ. 해부학적 관점에서의 호흡 = 18
• 1. 폐의 기능적 구조 = 18
• 2. 폐용적 = 21
• 3. 호흡조절 = 22
• 4. 호흡법에 대한 시사점 = 22
• Ⅳ. 클라리넷의 호흡법 = 24
• 1. 복식호흡 = 24
• 2. 연주 기법과 호흡 = 24
• 3. 음계(Scale)와 호흡 = 36
• 4. 이음줄(Slur)과 호흡 = 42
• 5. 혀놀림(Tonguing)과 호흡 = 47
• 6. 분절법(Articulation) = 50
• 7. 프레이징(Phrasing)과 호흡 = 53
• 8. 비브라토(Vibrato)와 호흡 = 55
• 9. 순환 호흡(circuit breath) = 57
• 10. 클라리넷 호흡법의 효율적인 연습방법 = 58
• Ⅴ. 결론 = 62
• 참고문헌 = 64
• Abstract = 66