베토벤 《전원 교향곡》 1악장 전개부, 바그너 《라인의 황금》 중 ‘전주곡’, 그리고 라벨 《볼레로》의 분석을 통한 19세기에서 20세기 초의 음색작법 고찰
Study on Timbric Composition from the 19th Century to the early years of 20th Century through Analysis of the Development Section of the First Movement of Beethoven's Symphony Pastoral, Wagner's ‘Prelude’ of Rheingold, and Ravel's Bolero
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This article studies on Beethoven's development section of the first movement of Symphony Pastoral, Wagner's ‘Prelude’ of Rheingold, and Ravel's Bolero, which are considered as forming exceptional examples of the timbric composition from the 19th century to the early years of 20th century. The article examines not only the scores but also the poïétique situations of the pieces. Composed in particular situation, these pieces show the irreversible, transitional, unipolar, and fused sound continuum, where the music is more and more louder, densified, opaque, and the register is more and more wider with time. In these music we also identify almost everything, what one identifies in the micropolyphonic and microscopic music of György Ligeti. The only difference is derived from the magnification. Ligeti's microscope is more high-powered.
Abstract
This article studies on Beethoven's development section of the first movement of Symphony Pastoral, Wagner's ‘Prelude’ of Rheingold, and Ravel's Bolero, which are considered as forming exceptional examples of the timbric composition from the 19th century to the early years of 20th century. The article examines not only the scores but also the poïétique situations of the pieces. Composed in particular situation, these pieces show the irreversible, transitional, unipolar, and fused sound continuum, where the music is more and more louder, densified, opaque, and the register is more and more wider with time. In these music we also identify almost everything, what one identifies in the micropolyphonic and microscopic music of György Ligeti. The only difference is derived from the magnification. Ligeti's microscope is more high-powered.
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