변형을 통한 브람스의 대조·대칭의 미학

• 영문명: Brahms's aesthetics of Contrast and Symmetry as witnessed through a transformational process
• 발행기관: 한국서양음악학회
• 저자명: 송무경 안소영
• 간행물 정보: 『서양음악학』제9권 제3호, 85~119쪽, 전체 35쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 2006.09.30

영문 초록

The paper is a narrative analysis, which shows how a semantic transfiguration from death to love is reflected upon Brahms's Lied, Vier ernste Gesänge through a genuine process of a musical transformation. We have adopted a Schenkerian theory and neo-Riemannian transformational theory as our primary methodology. The former explains the detailed voice-leading events between adjacent songs in a deep-level as well as a local-level structure, while the latter offers an invaluable insight, by which one could illuminate tonal relationships in a logical and systematic way. A close examination through such analytic methodologies reveals some systematic and logical analytical results not only in foreground events, such as a meter change and an anomaly in voice-leading and harmonic progression, but also in more structural events that cannot be detected exclusively by traditional harmonic and formal analyses. The narrative deploys by taking metaphors of “difference,” “contrast,” and “symmetry,” which integrate ultimately into a “transformation” as its main theme. The sense of transformation reflected on texts excerpted from the Bible suggests radical analytic interpretations, such as a unified Ursatz that juxtaposes the second and third songs, an unconformity between the superficial and structural keys, and a contrast and symmetry as witnessed in both adjacent and remote-level tonal relationships.

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참고문헌

키워드

네 개의 엄숙한 노래 네오리만 변형이론 쉔커식 분석이론 변형 차이 대조 대칭 장․단조 혼용 선적인 5-6기법 선법성의 변형 공통음 관계 발전적 변주 메타포 Vier ernste Gesä nge neo-Riemannian transformational theory Schenkerian theory transformation difference contrast symmetry mode mixture linear 5-6 technique modal transformation common-tone relation developing variation metaphor