16세기 기악곡의 즉흥선율장식 (Embellishing 16th-Certury Instrumental Music)

서지정보

· 발행기관 : 민족음악학회
· 수록지 정보 : 음악과 현실 / 35호 / 261 ~ 284페이지
· 저자명 : 김미애

초록

We live in a period in which the printed note is performed as it is, at least in the realm of classic music. On the other hand, sixteenth-century musicians whether soloists or members of ensembles, were less uptight. They embellished the written music in front of audience.

During the period between the mid-1530s and the end of the century, printed were more than a dozen treatises that provide instruction on how to improvise ornamentation. Among the best-known are those by Ganassi, Ortiz, Dalla Casa, Bassano, Zacconi, Diruta. They all made it clear that ornamentation was commonplace and that there was a stock of ornamental clichés common to instrumentalist. Their languages and vocabulary vaired but their subjects were divided only into Diminution and Graces :

(1) Diminution(Passaggi): decorations that fill the intervals between notes.
The ornamentation manuals of the authors focused mainly on Diminution; they devoted most of their space in their treatise to explaining how to break up the longer notes of a composition by applying to them stereotyped melodic formulas made up of many short notes. The authors presented with a series of systematic tables showing alternative melodic formulas for each of the most common intervals, ascending and descending seconds, thirds, fourths, fifths, sixth, sevenths, and octaves as well. In addition, most authors included examples of multiple ways to decorate cadences.

(2) Grace: embellishments for single notes
The tremolo and the groppo seem to have been most common throughout the sixteenth-century, and some musicians added a few variants and additions such as clamatione, accento, trillo, cascada, and ribattuta.

Embellishments intended for an ensemble of instrumentalists should be fewer and simpler than those improvised by a single lutenist or keyboard player, or recorder or viol player. And authors said that superius parts might be ornamented more liberally than lower lines; happy music more than sad; cadences more than phrase beginnings; repetitions of a phrase more than its first presentation. Musicians from the last two decades of sixteenth century concentrate their attention even more on speed and they try to be the most accomplished, or the most exhibitionistic in virtuosity. The treatises are full of commonsense advice on how to temper virtuosity with taste.

One of the most important things in the instrumental performance in 16th century is to play the well-matched embellishments skillfully. Musicians should perform with their own embellishments as well as the common practice in 16th century, so as to impress the audience. Musicians can make good performances only when they practice diminution through treatise of 16th century, and refer to the music archives documented for improvisation, and understand the vocal music in renaissance. By understanding these, the audience could enjoy the flavor of music in renaissance and also realize the delight in music.

영어초록

We live in a period in which the printed note is performed as it is, at least in the realm of classic music. On the other hand, sixteenth-century musicians whether soloists or members of ensembles, were less uptight. They embellished the written music in front of audience.

During the period between the mid-1530s and the end of the century, printed were more than a dozen treatises that provide instruction on how to improvise ornamentation. Among the best-known are those by Ganassi, Ortiz, Dalla Casa, Bassano, Zacconi, Diruta. They all made it clear that ornamentation was commonplace and that there was a stock of ornamental clichés common to instrumentalist. Their languages and vocabulary vaired but their subjects were divided only into Diminution and Graces :

(1) Diminution(Passaggi): decorations that fill the intervals between notes.
The ornamentation manuals of the authors focused mainly on Diminution; they devoted most of their space in their treatise to explaining how to break up the longer notes of a composition by applying to them stereotyped melodic formulas made up of many short notes. The authors presented with a series of systematic tables showing alternative melodic formulas for each of the most common intervals, ascending and descending seconds, thirds, fourths, fifths, sixth, sevenths, and octaves as well. In addition, most authors included examples of multiple ways to decorate cadences.

(2) Grace: embellishments for single notes
The tremolo and the groppo seem to have been most common throughout the sixteenth-century, and some musicians added a few variants and additions such as clamatione, accento, trillo, cascada, and ribattuta.

Embellishments intended for an ensemble of instrumentalists should be fewer and simpler than those improvised by a single lutenist or keyboard player, or recorder or viol player. And authors said that superius parts might be ornamented more liberally than lower lines; happy music more than sad; cadences more than phrase beginnings; repetitions of a phrase more than its first presentation. Musicians from the last two decades of sixteenth century concentrate their attention even more on speed and they try to be the most accomplished, or the most exhibitionistic in virtuosity. The treatises are full of commonsense advice on how to temper virtuosity with taste.

One of the most important things in the instrumental performance in 16th century is to play the well-matched embellishments skillfully. Musicians should perform with their own embellishments as well as the common practice in 16th century, so as to impress the audience. Musicians can make good performances only when they practice diminution through treatise of 16th century, and refer to the music archives documented for improvisation, and understand the vocal music in renaissance. By understanding these, the audience could enjoy the flavor of music in renaissance and also realize the delight in music.

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