15세기와 16세기의 비례 기호 이론에 관한 논의
A Study on the Theories of Proportional Signs in the Fifteenth and Sixteenth Centuries
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일찍이 모드 기보법 시대의 클라우줄라에서는 리듬의 비례적 변화를 실제로 축소된 또는 확대된 음표들로 표기하여 나타냈지만 14세기 말부터는 비례 기호를 사용하여 시가의 축소와 확대를 표기했다. 리듬적 다양성을 위해 비례적 축소나 확대 방식을 많이 이용했던 15세기와 16세기에는 정량 기호, 음표의 칼라레이션, 아라비아 숫자와 분수 기호 같은 다양한 방법을 사용해서 비례를 지시했으며, 간혹 모호함을 피하기 위해서 이탈리아 음표 형태를 혼합하여 사용하기도 했다. 본 논문은 15세기와 16세기에 비례 체계를 다루고 있는 프로스도치무스, 우골리노, 귈렐무스, 팅토리스, 라모스, 가푸리우스, 스파타로, 오르니토파르쿠스등의 이론서들에서 논의된 다양한 비례 기호의 비례적 의미와 사용법에 대해서 고찰해 보았다. 15세기와 16세기의 음악에서 가장 많이 사용되던 비례는 2:1, 3:1, 4:1, 3:2, 4:3, 9:8, 그리고 8:3이었지만, 당시의 많은 이론가들의 비례 체계는 실제 음악에서는 전혀 사용되지 않는 비례들까지 제시하는 순전히 공론적인 논의로 전개되기도 했다. 따라서 수십 가지의 비례, 그것을 표기하는 다양한 방식의 기호, 그리고 비례 기호의 잘못된 사용법은 비례 기호 체계를 더욱 복잡하고 혼돈스러운 이론으로 만들었다. 팅토리스와 가푸리우스는 이 같은 상황을 개선해 보고자 보다 통합되고 일관성 있는 비례 기호 체계를 사용할 것을 제안했고, 이에 따라 정량 기호는 점차적으로 분수 기호로 대체되었다.
Abstract
The system of proportional notation was widely used in the fifteenth and sixteenth century by composers such as Obrecht, Ockeghem, Josquin, and Isaac. Although this system was frequently discussed by many theorists in that time, it was and has remained one of the most problematic aspects of Renaissance music among theorists and practical musicians. The earliest work to treat of proportions is a treatise from the mid-fourteenth century, the Libellus cantus mensurabilis secundum Johannes de Muris. Without using the term proportio itself, this treatise gives a description of proportional diminution in chapter 9, under the title De diminutione mottetorum, in which de Muris discusses the diminution of note values in the ratio 2:1 and 3:1. In the two centuries that followed, many theorists, such as Prosdocimus de Beldemandis, Ugolino of Orvieto, Guilielmus Monachus, Johannes Tinctoris, Bartolomé Ramos, Franchinus Gaffurius, Giovanni Spataro, Andreas Ornithoparchus discussed the system of proportional signs. problematic aspects of Renaissance music among theorists and practical musicians. The earliest work to treat of proportions is a treatise from the mid-fourteenth century, the Libellus cantus mensurabilis secundum Johannes de Muris. Without using the term proportio itself, this treatise gives a description of proportional diminution in chapter 9, under the title De diminutione mottetorum, in which de Muris discusses the diminution of note values in the ratio 2:1 and 3:1. In the two centuries that followed, many theorists, such as Prosdocimus de Beldemandis, Ugolino of Orvieto, Guilielmus Monachus, Johannes Tinctoris, Bartolomé Ramos, Franchinus Gaffurius, Giovanni Spataro, Andreas Ornithoparchus discussed the system of proportional signs.
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