17세기의 음악적 멜랑콜리
A study on seventeenth-century musical melancholy
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참고문헌
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초록
본 논문은 17세기의 음악적 판타지에 관한 논의들과 ‘멜랑콜리’ 개념을 통해 광범위한 문화적 맥락 안에서 음악 창작의 주제를 고찰하였다. 멜랑콜리란 전통적으로 영감이나 천재성과 연관되어 왔고 음악에 있어서는 류트 악기나 오르페우스 신화와 함께 언급되곤 하였다. 17세기의 주요 음악 문헌들은 경험주의의 발전과 맥을 같이 하여 감정의 표현과 소통, 이를위한 규칙으로부터의 일탈이 예술적 가치를 얻게 되는 과정 속에서 예술적 자유와 판타지 장르에 관해 논하고 있다. 이 시기 멜랑콜리는 이러한 예술적 자유를 조명하는 하나의 구체적인 메타포로 활용되었다. 이처럼 문헌상 발견되는 판타지의 정의들, 멜랑콜리의 다양한 개념들과 함께 판타지 장르로 분류되는 작품들인 프렐루드, 토카타, 요한 야콥 프로베르거의 멜랑콜리를 주제로 한 플랭트를 중심으로 17세기의 멜랑콜리 미학을 살펴보았다.
Abstract
Among the metaphorical subjects which illustrate seventeenth-century musical fantasy, most remarkable is melancholy. Positive connotations of melancholy as an inspired state of mind, and its association with personalised description and the mysterious sonority of the lute originate in ancient sources, such as Orpheus myth and Aristotle’s association of the melancholic humour with extraordinary talent. Given that musical fantasy began to be discussed along with the increasing interest in artistic license and empiricist approach, this thesis elucidates the elevated notions of fantasy and melancholy in the seventeenth-century cultural context, exemplifying Johann Jakob Froberger's Plainte and representational works, and relating genres such as toccata and prelude.
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