칼데론의 성체극 거룩한 오르페우스에 구현된 음악 연구
A Study on the Music in Calderon’s Sacramental Acts Divine Orpheus
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In his two sacramental acts entitled Divine Orpheus, Pedro Calderon de la Barca sets the music of Orpheus as a means of salvation of Christ, unlike the other mythical sacramental acts. While in his other sacramental acts, music was used only as a tool to amplify the dramatic effects, the music of these two dramas was used as a means of salvation as a theme embodying the purpose of the sacramental act. Calderon, the founder of Zarzuela, which can be called the opera of Spanish taste, began the era of Spanish music drama. The variety of musical forms used in the work in 1663 is very relevant to the appearance of Zarzuela. The reason for the increase in musical elements in Calderon’s sacramental act in time and genre is sufficient. In addition to using Zarzuela’s musical styles, such as Recitativo and Monodi, and Chorus of ancient Greek origin, Calderon, a royal priest, discovered the original form of Bible music and restored it to his sacramental acts.
Abstract
In his two sacramental acts entitled Divine Orpheus, Pedro Calderon de la Barca sets the music of Orpheus as a means of salvation of Christ, unlike the other mythical sacramental acts. While in his other sacramental acts, music was used only as a tool to amplify the dramatic effects, the music of these two dramas was used as a means of salvation as a theme embodying the purpose of the sacramental act. Calderon, the founder of Zarzuela, which can be called the opera of Spanish taste, began the era of Spanish music drama. The variety of musical forms used in the work in 1663 is very relevant to the appearance of Zarzuela. The reason for the increase in musical elements in Calderon’s sacramental act in time and genre is sufficient. In addition to using Zarzuela’s musical styles, such as Recitativo and Monodi, and Chorus of ancient Greek origin, Calderon, a royal priest, discovered the original form of Bible music and restored it to his sacramental acts.
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