본문 바로가기
KERD
논문KCI 등재

네오리이만 변형이론의 역사적 배경 및 기본개념

An Introductory Essay on Neo-Riemannian Transformation Theory: Historical Background and Basic Concepts

안소영
한국서양음악학회 (The Musicological Society Of Korea)|2004.05|서양음악학 (Journal of the Musicological Society of Korea)|제7호|pp. 227-265

2

조회

0

다운로드

14

인용

0

참고문헌

키워드

Hamiltonian CycleParallelHugo Riemann최대근접성부진행네오리이만 변형이론후고 리이만패러럴라이톤벡슬렐러티브헥사토닉 시스템옥타토닉 시스템헤밀토니안 사이클Neo-Riemannian Transformation TheoryLeittonwechselRelativeParsimonious Voice LeadingHexatonic SystemOctatonic System
주제분류음악학

초록

Abstract

David Lewin is credited with having originated neo-Riemannian transformation theory, in his work with harmonic transformations in nineteenth-century triadic harmonic theory. Since then, as an extension of Lewin's work, neo-Riemannian theorists have had many lively discussions about contextual transformations on consonant triads and parsimonious voice leading. Among them, John Clough, Richard Cohn, Jack Douthett, Brian Hyer, and Henry Klumpenhouwer were theorists to lay a foundation for neo-Riemannian theory, adapting and developing a tradition of German harmonic theory. The general aim of the present study is to examine the historical background, comparing with the nineteenth-century German harmonic ideas such as triadic transformation, common-tone retention, harmonic dualism, and Tonnetz, and to discuss current topics on neo-Riemannian theory. This essay also presents some basic theoretical concepts of the neo-Riemannian theory, focusing on the P, L, R transformations and harmonic circles based on regular patterns of the transformations called Hexatonic system, Octatonic system, and Hemiltonian Cycle. Neo-Riemannian theory can belong to a speculative theory, exploring some abstract structures of tones and chords themselves, and the major-minor system in terms of voice leading and transformations. It is also obvious that the neo-Riemannian theory can be categorized as an analytic theory undertaking detailed study of individual pieces.

참고문헌 (67)

  1. "Harmonic Circles and Voice Leading in Asymmetrical Trichords.", pp.7~15 (2003), Ph.D. diss., State University of New York at Buffalo
  2. "Introduction to Neo-Riemannian Theory: A Survey and Historical Perspective", 42(2), pp.167~180 (1998)
  3. "The Chaos of Possibilities: Combinatorial Group Theory in Nineteenth-Century German Harmony Treatises." (2002), Ph.D. diss., State University of New York at Buffalo
  4. "Daniel. Harmonic Function in Chromatic Music A Renewed Dualist Theory and an Account of its Precedents. Chicago University of Chicago Press" (1994)
  5. "Moritz. Die Natur der Harmonik und der Metrik English trans. by W. E. Heathcote as The Nature of Harmony and Metre. New York"
  6. "Tonal Intuitions in Tristan und Isolde." (1989), Yale University
  7. "Reimag(in)ing Riemann", 39(1), pp.101~138 (1995)
  8. "Dualist Tonal Space and Transformation in Nineteenth-Century Musical Thought", pp.456~476 (2002), Cambridge University Press
  9. "A Comprehensive Theory of mediant Relations in Mid-Nineteenth-Century Music." (1995), Ph.D. diss., Brandeis University
  10. "Adolf Bernhard. Die Lehre von der Musikalischen Komposition. 1841. English trans. by H.S Saroni as Theory and Practice of Musical Composition. New York" (1860)
  11. "The 'Table of Relations’ and Music Psychology in Hugo Riemann’s Harmonic Theory." (1996), Ph.D. diss., Columbia University
  12. "Arthur von. Harmonie in dualer Entwickelung" (1866)
  13. "Breitkopf und Hrtel. Enlarged as Handbuch der Harmonielehre. Leipzig Breitkopf und Hrtel"
  14. "oder Die Lehre von den tonalen Funktionen der Akkorde. London English trans. by Henry Bewerunge as Harmony Simplified The Theory of the Tonal Functions of Chords. 1896." (1893)
  15. "Ideen zu einer ‘Lehre von den Tonvorstellungen.’ English translation by Wason Ideas for a Study ‘On the Imagination of Tones.’ Journal of Music Theory 36", 1, 1914-19151992, 1 81~26 117
  16. "Studies in Music University of Western Ontario 2", pp.108~24 (1977)
  17. "Harmonic Circles and Voice Leading in Asymmetrical Trichords.", pp.1~29 (2003), Ph.D. diss., State University of New York at Buffalo
  18. "Flip-Flop Circles and Their Groups", 13, pp.169~201 (1999)
  19. "Introduction to Neo-Riemannian Theory: A Survey and Historical Perspective", 42(2), pp.167~180 (1998)
  20. "The Chaos of Possibilities Combinatorial Group Theory in Nineteenth-Century German Harmony Treatises." (2002), Ph.D. diss., State University of New York at Buffalo
  21. "Daniel. Harmonic Function in Chromatic Music A Renewed Dualist Theory and an Account of its Precedents. Chicago University of Chicago Press" (1994)
  22. "Thirteen Ways of Looking at the Schritt", Wechsel Group., 2001., ~
  23. "Tonal Intuitions in Tristan und Isolde." (1989), Yale University
  24. "Reimag(in)ing Riemann", 39(1), pp.101~138 (1995)
  25. "Some Remarks on the Use of Riemann Transformations." (1994)
  26. "A Comprehensive Theory of mediant Relations in Mid-Nineteenth-Century Music." (1995), Ph.D. diss., Brandeis University
  27. "A Formal Theory of Generalized Tonal Functions. Journal of Music Theory 26", 1, 1982, 32~60
  28. "Cohn Functions.", 40(2), pp.181~216 (1996)
  29. "The ‘Table of Relations’ and Music Psychology in Hugo Riemann’s Harmonic Theory." (1996), Ph.D. diss., Columbia University
  30. "Neo-Riemannian Operations, Parsimonious Trichords, and Their Tonnetz Representations", 41(1), pp.1~66 (1997)
  31. "Some Aspects of Three-Dimensional Tonnetze.", 42(2), pp.195~206 (1998)
  32. "Tonal Intuitions in Tristan und Isolde." (1989), Yale University
  33. "Reimag(in)ing Riemann", 39(1), pp.101~138 (1995)
  34. "A Formal Theory of Generalized Tonal Functions. Journal of Music Theory 26", 1, 1982, 32~60
  35. "The Tonnetz and Extensions of Neo-Riemannian Concepts to Early Atonal Music." (2001)
  36. "Functional Fishing with Tonnetz Toward a Grammar of Transformations and Progressions." (2001)
  37. "Harmonic Circles and Voice Leading in Asymmetrical Trichords." (2003), Ph.D. diss., State University of New York at Buffalo
  38. "Flip-Flop Circles and Their Groups.", 13, pp.169~201 (1999)
  39. "Generalized Cycles of Fifths and Some Extensions to Microtonal and Beat-Class Spaces. Keynote address at the annual meeting of Music Theory Midwest" (1994)
  40. "Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions.", 15(1), pp.9~40 (1996)
  41. "Neo-Riemannian Operations, Parsimonious Trichords, and Their Tonnetz Representations", 41(1), pp.1~66 (1997)
  42. "Square Dances with Cubes.", 42(2), pp.283~295 (1998)
  43. "Weitzmann’s Regions, My Cycles, and Douthett’s Dancing Cubes", 22(1), pp.89~103 (2000)
  44. "Parsimony and Extravagance" (2001)
  45. "Parsimonious Graphs: A Study in Parsimony, Contextual Transformations, and Modes of Limited Transposition.", 42(2), pp.241~263 (1998)
  46. "Parsimony and Contextuality of Diatonic Sequences." (2001)
  47. "Cohn Functions", 40(2), pp.181~216 (1996)
  48. "Voice-Leading Spaces", 20(2), pp.175~207 (1998)
  49. "A Tonal and Hexatonic Sonata Form: Shostakovich’s Piano Sonata No. 2 in B minor, I." (2001)
  50. "Some Transformations between Triads and Seventh Chords." (2001)
  51. "Alternative Interpretations of Some Measures from Parsifal.", 42(2), pp.321~334 (1998)
  52. "Alternative Transformational Aspects of the ‘Grail’ in Wagner’s Parsifal. Paper presented at the annual meeting of Music Theory Midwest" (1994)
  53. "Some Notes on Analyzing Wagner", pp.49~58 (1992)
  54. "Generalized Cyclical Motions in Wagnerian Triadic Progressions." (1999)
  55. "Wayward Faith: Divergence and Reconciliation of Harmonic Cycle and Melodic Sequence in Some Measures from the Prelude to Wagner’s Parsifal." (2001)
  56. "Harmonic Circles and Voice Leading in Asymmetrical Trichords." (2003), Ph.D. diss., State University of New York at Buffalo
  57. "The Interaction of Ic 1 and Ic 5 in Twentieth-Century Music." (2001)
  58. "Trichords and Transformations in Two Pieces from György Kurtá;g’s Kafka-Fragmente." (2001)
  59. "Neo-Riemannian Operations, Parsimonious Trichords, and Their Tonnetz Representations", 41(1), pp.1~66 (1997)
  60. "Voice-Leading Parsimony in the Music of Alexander Scriabin.", 42(2), pp.219~233 (1998)
  61. "Moving Beyond Neo-Riemannian Triads Exploring a Transformational Model for Seventh Chords.", 42(2), pp.181~193 (1998)
  62. "4-Systems in Webern’s Concerto, Op. 24" (2001)
  63. "Parsimonious Graphs: A Study in Parsimony, Contextual Transformations, and Modes of Limited Transposition", 42(2), pp.241~263 (1998)
  64. "Some Aspects of Three-Dimensional Tonnetze.", 42(2), pp.195~206 (1998)
  65. "Two Short Essays on Neo-Riemannian Theory." (2001)
  66. "Notes on the Opening of the F# Minor Fugue from WTC I.", 42(2), pp.235~239 (1998)
  67. "Some Transformations between Triads and Seventh Chords." (2001)

관련 논문AI추천

네오리만 변형이론을 통해 살펴본 반음계적 화성진행에 내재되어 있는 암시화음과 성부진행(1)이내선한국서양음악학회 · 서양음악학2006 · 제9권 제3호서양음악형식: 역사적 발전과정을 통한 이론적 조망정소희음악연구소 · 이화음악논집2007 · 제11권 제1호네오리만 이론의 헥사토닉 시스템을 적용한 분석 연구한재선한국서양음악학회 · 서양음악학2008 · 제11권 제1호연주자를 위한 기초음악이론 교육의 개선방안: 현행 화성학 교육의 문제점과 개선방안임영신한국서양음악학회 · 서양음악학2007 · 제10권 제1호변환들과 음악분석조현리한국서양음악학회 · 서양음악학2015 · 제18권 제1호음악분석이론의 유영성에 관한 논의이내선세계음악학회 · 음악과 문화2006 · 제14호

이 간행물의 다른 논문 (9건)

음악의 정당화 담론과 아도르노의 음악사회학노명우pp. 9-25아도르노, 아이슬러 그리고 ＂영화를 위한 작곡＂이경분pp. 27-47음악 ＂작품＂ 개념의 발생 과정: 서양음악을 중심으로이경희pp. 49-77베르톨트 브레흐트의 교육극. 음악의 사회적 기능에 관한 이론과 실제김택완pp. 79-121카시오도루스(Cassiodorus)의 음체계장우형pp. 125-138
원문 보기