변환들과 음악분석
Transformations and Music Analysis
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초록
데이빗 루인(David Lewin)이 제시한 음악적 변환(musical transformation) 개념은 엄밀한수학적 정의와 개방적 적용가능성을 지녔음에도 불구하고 여전히 문제적 개념이다. 본 논문은 루인의 논문들을 재해석하는 과정을 통해 그의 음악변환이론이 실제로 어떻게 작용하고,적용되며, 재고되는지를 살펴보고, 변환 개념과 변환적 태도가 구체적인 음악적 경험과 어떤관계를 이루며 어떤 종류의 의미를 추구하는지를 탐구한다. 아울러 루인의 음악분석에 등장하는 변환들이 표현하고 실현하는 가치들을 이해함으로써 음악분석이라는 독특한 인간행위에 대한 좀 더 충실한 이해를 도모하고자 한다.
Abstract
For all its rigorous mathematical underpinning and immense applicability, the concept ofmusical transformation remains problematic within the practice of music analysis. Unlike othermusic-analytical concepts, musical transformation does not convey its immediate perceptualcounterpart in (notated) music, and thus disturbs predetermined relationships between thelistener and the music presumed in most theories of music analysis. Analyzing David Lewin’smusic-theoretical and music-analytical writings, this paper explores how, and in what sense, themathematical meaning of musical transformation can impinge upon the prevalent syntacticdescriptions of musical texts, and transform the notion of musical coherence presumed in suchdescriptions.
참고문헌 (18)
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