조성음악의 화성분석과 해석에서 나타나는 음악적 중의성(重義性)

• 영문명: Ambiguity in the Analysis of Tonal Harmony: Case Studies and Reflections
• 발행기관: 한국서양음악학회
• 저자명: 김연
• 간행물 정보: 『서양음악학』제9권 제3호, 169~215쪽, 전체 47쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 2006.09.30

영문 초록

Musical ambiguity is one of the issues most often discussed in music-theoretical discourse these days. Not everyone welcomes this some scholars find it problematic and consider ambiguity as a mere trend. It is undeniable, however, tonal harmony depends on contexts and frequently admits ambiguous interpretations. This paper examines the concept of musical ambiguity in harmonic theories of Rameau, Riemann, Weber, Weitzmann, and Schoenberg, and in the selected phrases from the music of Beethoven, Schumann, and Schubert. This examination revealsthat music analyses can employ the idea of ambiguity in two different ways. First, it can focus on the process of disambiguation, that is, how ambiguity is dissolved eventually. Or, it can embraces the fact that a single musical event can have more than two lexical or structural meanings simultaneously. In either ways, music analyses tend to underscore the matter of how we hear music by encompassing the notion of ambiguity. And this is precisely what we want to teach to our students in music analysis courses. Therefore, embracing the idea of ambiguity is not a post-modernistic threat to the existence of music analysis, as some suggested; rather, it enables us to recall what the genuine purpose of music analysis is.

목차

시작하는 글

1. 화성의 중의성, 그 개념의 정립

2. “중의성 해소”의 과정과 음악분석

3. 중의적 음악분석

맺음말

참고문헌

키워드

중의성 다의성 음악분석 음악이론 어휘적 중의성 구조적 중의성 중의성 해소 리만 포글러 베버 바이츠만 라모 이중 사용 쇤베르크 흔들리는 조성 베토벤 슈베르트 브람스 슈만 ambiguity Mehrdeutigkeit music analysis music theory lexical ambiguity structural ambiguity disambiguation Hugo Riemann Abbé Georg Joseph Vogler Gottfried Weber Carl Friedrich Weitzmann Jean-Philippe Rameau double emploi Arnold Schoenberg schwebende Tonalitä t Ludwig van Beethoven Franz Schubert Johannes Brahms Robert Schumann 重義性 多義性