오르가니스트를 위한 아티큘레이션 단상: 시대별 오르간 연주 이론서에 나타난 아티큘레이션의 의미와 적용
Organists’ Thoughts regarding Articulation: the Meaning and Application from Reading Historical Documents
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초록
오르가니스트에게 아티큘레이션은 매우 중요하다. 오르간을 처음 접하게 되는 순간부터 모든 연주회의 최종 리허설에서도 늘 확인해야 할 가장 중요한연주관습이다. 20세기에 들어와서 많은 연주자들과 학자들은 아티큘레이션이무엇인가에 대해 논의해 왔지만 오르가니스트에게 아티큘레이션이란 여전히모호하고 다양한 의미를 포괄한다. 이 논문은 오르간 연주관습에 대해 최초로설명한 한스 부흐너가 『교본』(Fundamentum)을 출판한 1523년부터 음악학자 헤르만 켈러가 최초로 아티큘레이션과 프레이징에 대한 정의를 내린 1955 년까지 아티큘레이션의 흔적을 따라간다. 그 과정에서 아티큘레이션은 단일한의미로 정의할 수 없으며, 오히려 오르가니스트가 음을 끊고 붙이는 모든 연주동작과 연관되어있다는 것을 알 수 있다. 궁극적으로 아티큘레이션을 결정하는것은 어떤 방법으로 연주할 작품에 접근하느냐의 문제로 연결된다.
Abstract
Articulation is a indispensible element for organist. This term rather life-long intimate word comes from the very first organ lesson. It always stands with organist at the moment not only learning notes, but also having the last rehearsals before the concerts. Since the 20th century, many scholars have been discussing about articulation, but its definition even can not be clarified. Scholars make different categorization according to their background, but the meaning of articulation becomes very varied. It results in miscellaneous issues according to historical period which the scholar belongs to. This article discusses what the organ instructions tell us about articulation, beginning from Hans Buchner’s Fundamentum of 1523 to Hermann Keller’s Phraising and Articulation of 1955. Articulation can not be defined as single meaning or single action for certain practice, but become artistic process of organists how they interpret and approach to music. Articulation relates to every aspect, where organist attack and release the key in terms of phrasing, metrical and agogic accent, and fingerings. After examination of historical documents, organist can conclude that making articulation means taking a tool to interpret the music and to actualize it for listeners.
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