쇤베르크 음악의 선율윤곽에 관한 연구 (Musical Contour in Schoenberg's Piano Piece, Op. 23, No.2.)

서지정보

· 발행기관 : 민족음악학회
· 수록지 정보 : 음악과 현실 / 38호 / 319 ~ 340페이지
· 저자명 : 안선현

초록

Despite the importance of studying contour theories that have been rapidly developed merely over the last 30 years, the analysis of music based upon those contour theories is far more crucial because it helps better understand detailed aspects of the melody that may be easily overlooked otherwise. We are inclined to pay more attention to the melody direction such as ascending or descending melody in the analysis of musical contour. However, it would be helpful to understand melody if we recognize the melody focusing on interval and the exact difference between and among melodies.
The paper consists of two parts; the first part is a brief and traditional analysis of Schoenberg’s Piano piece based on the contrast character between 1st and 2nd themes, the melody of development for the general understanding this piece. The second part, the main part of the analysis, approaches this piece focusing on the contour. The ommission of the 2nd theme in recapitulation looks like unique in this piece. However, the inverted 1st theme in recapitulation contains the contour of the 2nd theme as well as the melody of 1st theme. The contrast melody contour between two themes makes possible to construct this Sonata form. Schoenberg uses contour both in conjunction with pitch class and structuring tool. His music shows that contour can convey a network of associations different from the one created by pitch, interval, and set-class-a network sometimes powerful enough even to integrate gestures into Sonata form. Contour serves to create a maximum concentration of expression, as well as to weave an infinitely which web of structural association.

영어초록

Despite the importance of studying contour theories that have been rapidly developed merely over the last 30 years, the analysis of music based upon those contour theories is far more crucial because it helps better understand detailed aspects of the melody that may be easily overlooked otherwise. We are inclined to pay more attention to the melody direction such as ascending or descending melody in the analysis of musical contour. However, it would be helpful to understand melody if we recognize the melody focusing on interval and the exact difference between and among melodies.
The paper consists of two parts; the first part is a brief and traditional analysis of Schoenberg’s Piano piece based on the contrast character between 1st and 2nd themes, the melody of development for the general understanding this piece. The second part, the main part of the analysis, approaches this piece focusing on the contour. The ommission of the 2nd theme in recapitulation looks like unique in this piece. However, the inverted 1st theme in recapitulation contains the contour of the 2nd theme as well as the melody of 1st theme. The contrast melody contour between two themes makes possible to construct this Sonata form. Schoenberg uses contour both in conjunction with pitch class and structuring tool. His music shows that contour can convey a network of associations different from the one created by pitch, interval, and set-class-a network sometimes powerful enough even to integrate gestures into Sonata form. Contour serves to create a maximum concentration of expression, as well as to weave an infinitely which web of structural association.

참고자료

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