쉔커의 형식 이론 들여다보기 - 노래 형식을 중심으로 -
Investigating Heinrich Schenker’s Theory of Musical Form: Focused on Song Forms
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본 논문은 “음악 형식은 표면적인 현상에 불과하고, 궁극적으로 후경층 즉, 근본구조에서유래한다”는 음악 형식에 대한 쉔커(Heinrich Schenker, 1868-1935)의 급진적이고 독특한 생각에 내재한 전통적 형식 이론과의 절충적인 가능성을 살펴보고, 후대의 쉔커 이론가들이 제시한 노래 형식의 분석 모델을 검토하여 이를 증보하는 데 그 목적이 있다. 이를 위해 필자는쉔커의 『자유작법』 마지막 장에 나타난 음악 형식에 관한 다소 모호한 견해들을 명료화 하는 것에서 시작하여 캐드왤래더와 슈맬팰트, 뉴마이어/테핑, 찰스 스미스 등의 포스트 쉔케리안들의 쉔커의 형식 이론에 대한 관점들을 비판적으로 검토하며 이를 재구성한다. 또한 2 부분·3부분으로 불리는 쉔커의 ‘노래 형식’에 있어 전통적 형식 이론과 쉔커식 견해를 절충하려는 시도들을 살펴보며 제1중경층 형식 모델에 입각한 분석적 접근 방법의 교수법적 명료함과 유용성에 대해 주장한다.
Abstract
The goal of this paper is to explore the possibility of a reconciliation between the traditional theory of form and Heinrich Schenker’s unique notion of a musical form, a notion that musical form is at most a superficial event and originated ultimately from the background, Ursatz, and furthermore, by reviewing analytic models of a song form that post-Schenkerians have presented, to supplement it. The research begins by clarifying Schenker’s more or less ambiguous statements on musical form as seen in the final chapter of his Der freie Satz and attempts to reconstruct his ideas of musical form by critically exploring and integrating perspectives by post-Schenkerians such as Allen Cadwallader, Janet Schmalfelt, David Neumeyer/Susan Tepping, and Charles Smith. The paper tries to investigate their diverse attempts to reconcile between the traditional theory of form and Schenker’s unique notion of a musical form in the level of what Schenker calls a song form, which coincides in practice with a binary or ternary form, and finally to demonstrate pedagogical clarity and validity of the analytic approach by first-level middleground form models.
참고문헌 (23)
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