음악적 말년성: 담론과 실천
Musical Lateness: Discourse and Practice
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이 논문은 비판적 관점에서 음악적 말년성 개념을 탐구한다. 논문은 먼저 음악분석과 아도르노의 ‘말년의 양식’ 개념 사이의 상호작용을 고찰하고, 최근 음악학에서 사이드의 ‘말년의 양식’ 개념이 수용되는 방식을 살펴본다. 또한 음악적 말년성 담론의 대표적인 텍스트인 “베토벤의 말년 양식”(1937)을 비롯한 아도르노의 텍스트를 비판이론의 시각에서 재해석하는 과정을 통해, 다채로운 스펙트럼을 구성하는 베토벤적 말년성 개념의 역동적 측면과 일관된 미학적 지향에 대한 이해를 도모한다. 마지막으로 최근의 말년성 담론에서 나타나는 여러 비판적 경향을 분석함으로써 음악적 말년성 개념의 문제적 측면을 검토하고, 음악적 말년성 담론이 어떤 의미에서 현재의 음악학적 실천을 위한 메타담론으로 기능할 수 있는지를 묻는다. 궁극적으로 이 논문은 음악적 말년성을 비롯한 문제적 개념의 수용과 적용에 영향을 끼치는 음악학적 담론과 실천 사이의 관계를 이해하고자 한다.
Abstract
This paper explores the concept or musical lateness from a critical point of view. It first examines the interaction between music analysis and the notion of late style, and investigates the recent reception of Edward Said’s concept of late style within musicological studies. Analyzing Adorno’s seminal essay, “Late Style in Beethoven” (1937) and other writings on the composer’s late style from a perspective of Critical Theory, the paper explicates the dynamic nature and intentionality of the idea of Beethovenian lateness. The paper then delves into the current discourse of musical lateness in which various critical perspectives are applied to the concept of musical lateness. Ultimately, the paper tries to understand the relationship between musicological discourse and practice that impinges upon the reception and application of problematic musicological concepts such as musical lateness. It discusses whether the discourse of musical lateness can serve as a meta-discourse for present musicological practices.
참고문헌 (30)
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