20세기 음악과 회화에서의 푸가

• 영문명: The Fugue Reflected on Music and Painting in the Twentieth Century
• 발행기관: 한국서양음악학회
• 저자명: 나주리
• 간행물 정보: 『서양음악학』제9권 제2호, 99~122쪽, 전체 24쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 2006.05.30

영문 초록

In the first part of the 20th century musicologists and music theorists had great interests in the fugue as their main theme dealing with compositions. Their attempts are to establish the essence, identity, and evolution of the fugue in scientific and theoretic viewpoints. Some productive concerns for the fugue have impacted on the areas of painting and music. For painters the fugue has been brought to the fore as a theme in order to aim for pure, absolute, abstract, and constructive arts beyond the just revival of the object in the early 20th century. In particular the painters of that period tried to employ the fugue in conjunction with musical works as well as researches by musicologists and music theorists. In other words, based on its rules and principles, the fugue was understood as a pure and absolute contrapuntal music, reflected on art work and its theory. Especially the second Viennese School considered the fugue as the abstract music, which has something in common with paintings

목차

1. 들어가는 말

2. 20세기 음악에서의 푸가 수용관

3. 20세기 회화에서의 푸가 수용관

4. 나가는 말

참고문헌

키워드

푸가 푸가와 회화 쿠프카 2색의 푸가 클레 붉은 푸가 fugue fugue and painting Kupka Fuge in zwei Farben Klee Fuge in Rot