쇤베르크의 《피아노곡 op. 33b》: 12음기법의 새로운 발전
Schoenberg's Piano Piece op. 33b: new development of dodecaphony
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초록
The natural musical flow of Arnold Schoenberg 's Piano Piece,Op. 33b is a result of embodying a quiet song-like piece through a more delicate and traditional motivic process method than of Op. 33a. The rich polyphony and unique linking of serials play important roles here: that is, the original series is organized within the mutual complementary connection with an inversion under five intervals. The linking among serials becomes even more liberal, because the independent use in the unit of six tones takes place while being limited to the two serials. In addition, two themes with contrastive features are formed on the unit of six tones of a serial, in which contrapunctus are repeated as contracted forms of each thematic rhythm while the connection of the two themes becomes much firmer in comparison to Op. 33a. Like in Op. 33a, symmetry is also important in its motive and formal structures. In particular, when a part of note materials is omitted or diverted in a specific sound format with correlations, the possibility of a new process of intervals becomes firmer with frequent and systematic uses.
Abstract
The natural musical flow of Arnold Schoenberg 's Piano Piece,Op. 33b is a result of embodying a quiet song-like piece through a more delicate and traditional motivic process method than of Op. 33a. The rich polyphony and unique linking of serials play important roles here: that is, the original series is organized within the mutual complementary connection with an inversion under five intervals. The linking among serials becomes even more liberal, because the independent use in the unit of six tones takes place while being limited to the two serials. In addition, two themes with contrastive features are formed on the unit of six tones of a serial, in which contrapunctus are repeated as contracted forms of each thematic rhythm while the connection of the two themes becomes much firmer in comparison to Op. 33a. Like in Op. 33a, symmetry is also important in its motive and formal structures. In particular, when a part of note materials is omitted or diverted in a specific sound format with correlations, the possibility of a new process of intervals becomes firmer with frequent and systematic uses.
참고문헌 (14)
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