쇤베르크의 초기 가곡에 나타나는 구조적 결정 요소로서의 반음계주의
Chromaticism as a Structural Determinant as Seen in Schoenberg's Early Songs
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초록
본 논문에서는 19세기 말-20세기 초에 나타났던 ‘극단적 반음계주의’ 작품에 대한 포스트 쉔커리안(Post-Schenkerians)들의 논의를 살펴보며, 구조적인 결정 인자로 작용하는 반음계주의에 대한 상위 계층 편입의 가능성을 고찰해 보았고, 이를 토대로 구조적 층위에서 나타나는 반음계적 현상들을 효과적으로 표현할 수 있는 필자의 분석모델을 제시했다. 분석모델은 근본선율에서 또는 의 변화가 나타나는 ‘모델-X’와, 높은 위계에 포함되는 슈투페(Stufe)로서의 반음계적인 화성을 포함하는 ‘모델-Y’로 분류된다. 본 연구에서는 분석모델을 쇤베르크의 초기 가곡 중 Op. 3/1의 분석에 적용하여 그 유용성을 검증하고자 했다. 그 결과 Op. 3/1은 모델-Y의 첫 번째 범주와 세 번째 범주에 속했으며, 이를 통해 반음계적인 현상들이 작품의 표면적 층위뿐만 아니라 구조적 층위에까지 침투되어 있음을 확인할 수 있었다.
Abstract
The goal of this paper is to present analytical models as attempts to propose a logical analytic methodology for the ultra-chromaticism in the late nineteenth century, by espousing Post-Schenkerians' studies of the subject. Prior to entering into the analysis, this study begins by reviewing critically Post-Schenkerians' discussions of explicating bold and radical uses of the ultra-chromaticism in the era from a Schenkerian perspective and by investigating theoretical assumptions latent in the discussions. Ultimately, this study then modifies, supplements, and integrates their contributions to the ultra-chromaticism in the Schenkerian standpoint in order finally to propose my own analytical models. The analytical model is classified as Model-X and Model-Y. Model-X concerns chromatic changes of the Urlinie, such as or , and Model-Y then incorporates chromatic harmonies as Stufen, which belongs to the deep middleground. I have presented an analysis of the Schoenberg's Op. 3/1, Wie Georg von Frundsberg von sich selber sang, which was affiliated to the first and the third category of Model-Y. It demonstrates that chromaticism can indeed function as a structural determinant at a deep-level musical structure, not simply as an elaborating flavor of the musical surface any more.
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- "한글 음악이론용어 홈페이지"[URL]