슈만의 「크라이슬레리아나」에 담긴 이원론적 음악관: ‘병렬구조’와 ‘혼합구조’를 통한 이중성의 표현
Musical Duality in Schumann’s Kreisleriana: Expressions of Duality through ‘Parallel Structure’ and ‘Mixed Structure’
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Schumann’s Kreisleriana is influenced by Hoffmann’s short story Kreisleriana showing close connection between the two works. The research and content of the thesis is started from the Schumann’s music and the ‘Doppelgänger’ motive inbuilt in the work of Hoffmann. In Hoffmann’s novel Kreisleriana, the main character with ‘Doppelgänger’ appears as the defining nature of the entire piece. Also through ‘Callot style’, Hoffmann attempted to create a harmony between things different in kind, leading the analysis of the novel as ‘double ego’s coincidental expression’ composed. The twofold content Schumann received from Hoffmann was exposed through his several works. In Davidsbündlertänze and The Carnaval puts the ‘parallel construct’- two kinds of personality competing ‘parallel construct’ in front. On the other hand, through the same form with ‘Eusebius’ hidden inside ‘Florestan’ whom does the talking for Schumann’s ‘Doppelgänger,’ it forms ‘coincidental duplicity’ that is ‘mixed construction.’ Hence the content is connected to the ‘Doppelgänger’ by Hoffmann motive and the ‘Callot style’ technique.
Abstract
Schumann’s Kreisleriana is influenced by Hoffmann’s short story Kreisleriana showing close connection between the two works. The research and content of the thesis is started from the Schumann’s music and the ‘Doppelgänger’ motive inbuilt in the work of Hoffmann. In Hoffmann’s novel Kreisleriana, the main character with ‘Doppelgänger’ appears as the defining nature of the entire piece. Also through ‘Callot style’, Hoffmann attempted to create a harmony between things different in kind, leading the analysis of the novel as ‘double ego’s coincidental expression’ composed. The twofold content Schumann received from Hoffmann was exposed through his several works. In Davidsbündlertänze and The Carnaval puts the ‘parallel construct’- two kinds of personality competing ‘parallel construct’ in front. On the other hand, through the same form with ‘Eusebius’ hidden inside ‘Florestan’ whom does the talking for Schumann’s ‘Doppelgänger,’ it forms ‘coincidental duplicity’ that is ‘mixed construction.’ Hence the content is connected to the ‘Doppelgänger’ by Hoffmann motive and the ‘Callot style’ technique.
참고문헌 (20)
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