20세기 성악이 포함된 실내악에서 텍스트와 음악의 관계-카겔의 《아나그라마》(Anagrama)와 리게티 《아방튀르》(Aventures)의 분석을 통해서- (The relationship of text and music in 20th-century vocal chamber music -Through the analysis of Kagel's Anagrama und Ligeti's Aventures-)

서지정보

· 발행기관 : 연세대학교 음악연구소
· 수록지 정보 : 음악이론포럼 / 20권 / 53 ~ 102페이지
· 저자명 : 신인선

초록

This study analyzed M. Kagel(1931‐22008)’s Anagrama(1957‐958) and G. Ligeti(1923‐2006)’s Aventures(1962) to present the diversity in the creation of vocal music during the latter half of the 20th Century. The point for the analysis of music was set through the analysis of vocal music by Kagel and Ligeti when the concept of ‘sound composition’, ‘language composition’,‘vocal composition’ and others apply, and through the pieces of the composers who lived in the same era when it comes to the changes during the latter half of the 20th Century.
Among Kagel’s numerous vocal music pieces, there were not many pieces that placed the ‘emphasis of the Phonetic aspect’ at the front without text. At best, they are Phonophonie, Hallelujah fur Stimmen and Die Mutation.
Ligeti’s compositional tendency in vocal music is slightly different from that of Kagel’s. Ligeti’s Aventures and Nouvelles Aventures, pieces based on the synthesis of the voice originated in actual diverse languages are the vocal music pieces of the 1960s that realize experimental thinking towards ‘stage piece’ from very early on. After this piece, Ligeti did not continue on this tendency. Along with Clocks and Clouds that uses the consonants and voiced vowels, 13 each, that follow the international phonetics’ phonetic notation and the mix of these instead of the text conform with Syntactics, and other pieces that used text such as Requiem, Lux aeterna, Drei Phantasien nach Friedrich Holderlin, Nonsense Madrigals confirm this.
Analysis of Kagel’s Anagrama shows that the composer did not set music to text. Instead, it was shown clearly that it was handled musically regardless of the contents of the text. Besides the conclusion that non‐semantics was realized or that another meaning was formed compared to the Latin phrase that serves as the basis of this piece, it includes the contents that couldlead to yet another conclusion. Not only was basic Latin text used as Phonetic material, but it is possible to verify the conclusion that it embraces the meaning of linking to drama through analysis.
Analysis of the Aventures composed of the Phonetic text that Ligeti himself explained in person according to E. Dieth and H. F. Wendt’s pronunciation presents diverse methods that can be defined as ‘vocal composition’ and verified the matters concerning ‘toning of the voice’ (tone melody). Moreover, ‘musical gestures’ (crying, laughing, whispering, yelling, sigh andothers) presented directly on the music note can be re‐appreciated with the opera‐like parody or caricature expression.

영어초록

This study analyzed M. Kagel(1931‐22008)’s Anagrama(1957‐958) and G. Ligeti(1923‐2006)’s Aventures(1962) to present the diversity in the creation of vocal music during the latter half of the 20th Century. The point for the analysis of music was set through the analysis of vocal music by Kagel and Ligeti when the concept of ‘sound composition’, ‘language composition’,‘vocal composition’ and others apply, and through the pieces of the composers who lived in the same era when it comes to the changes during the latter half of the 20th Century.
Among Kagel’s numerous vocal music pieces, there were not many pieces that placed the ‘emphasis of the Phonetic aspect’ at the front without text. At best, they are Phonophonie, Hallelujah fur Stimmen and Die Mutation.
Ligeti’s compositional tendency in vocal music is slightly different from that of Kagel’s. Ligeti’s Aventures and Nouvelles Aventures, pieces based on the synthesis of the voice originated in actual diverse languages are the vocal music pieces of the 1960s that realize experimental thinking towards ‘stage piece’ from very early on. After this piece, Ligeti did not continue on this tendency. Along with Clocks and Clouds that uses the consonants and voiced vowels, 13 each, that follow the international phonetics’ phonetic notation and the mix of these instead of the text conform with Syntactics, and other pieces that used text such as Requiem, Lux aeterna, Drei Phantasien nach Friedrich Holderlin, Nonsense Madrigals confirm this.
Analysis of Kagel’s Anagrama shows that the composer did not set music to text. Instead, it was shown clearly that it was handled musically regardless of the contents of the text. Besides the conclusion that non‐semantics was realized or that another meaning was formed compared to the Latin phrase that serves as the basis of this piece, it includes the contents that couldlead to yet another conclusion. Not only was basic Latin text used as Phonetic material, but it is possible to verify the conclusion that it embraces the meaning of linking to drama through analysis.
Analysis of the Aventures composed of the Phonetic text that Ligeti himself explained in person according to E. Dieth and H. F. Wendt’s pronunciation presents diverse methods that can be defined as ‘vocal composition’ and verified the matters concerning ‘toning of the voice’ (tone melody). Moreover, ‘musical gestures’ (crying, laughing, whispering, yelling, sigh andothers) presented directly on the music note can be re‐appreciated with the opera‐like parody or caricature expression.

참고자료

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