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헬무트 락헨만의 ‘기악적 구체음악’(musique concrète instrumentale)과 그 음악사적, 미학적 해석

A music-historical and aesthetic interpretation of Helmut Lachenmann's musique concrète instrumentale

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한국서양음악학회 (The Musicological Society Of Korea)|2008.09|서양음악학 (Journal of the Musicological Society of Korea)|제11권 제3호|pp. 67-116

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참고문헌

키워드

기악적 구체음악(musique concrète instrumentale)부정의 미학(aesthetic of negation/rejection)음악에서의 연극성(theatricality in music)행위중심적 기보법(action-oriented notation)새로운 청취의 개념(a new concept of listening)
주제분류음악학

초록

This essay surveyed some characteristic features of Lachenmann's musique concrète instrumentale, which is among the kernel concepts of his aesthetics. As a social-politically engaged composer, he aims to create music which contributes to a consciousness-formation of listener, composer, and performer in an aesthetic argument. For this, he uses experimental methods for which the concept of ‘sound-producing as action’ plays an important role. I have examined the influence of Luigi Nono on Lachenmann and the aesthetic of negation as well as the concept of musique concrète instrumentale, along with observation on some pieces which exemplify this concept; I have also attempted to interpret musique concrète instrumentale in a music-historical and aesthetic viewpoint, regarding an aspect of theatricality in non-theatrical, non-verbal instrumental music, and the 'action-oriented notation', and a new idea of listening. It is remarkable that all these aspects are related to one another and lie in mutual coherence.

Abstract

This essay surveyed some characteristic features of Lachenmann's musique concrète instrumentale, which is among the kernel concepts of his aesthetics. As a social-politically engaged composer, he aims to create music which contributes to a consciousness-formation of listener, composer, and performer in an aesthetic argument. For this, he uses experimental methods for which the concept of ‘sound-producing as action’ plays an important role. I have examined the influence of Luigi Nono on Lachenmann and the aesthetic of negation as well as the concept of musique concrète instrumentale, along with observation on some pieces which exemplify this concept; I have also attempted to interpret musique concrète instrumentale in a music-historical and aesthetic viewpoint, regarding an aspect of theatricality in non-theatrical, non-verbal instrumental music, and the 'action-oriented notation', and a new idea of listening. It is remarkable that all these aspects are related to one another and lie in mutual coherence.

참고문헌 (46)

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