무용 모음곡 연주를 위한 오르간 기법 연구: Bach, J.S.의 《프랑스 모음곡 No.5》을 중심으로

Abstract

This study aims to examine the organ performing techniques for offering new interpretations of organ music and enlarging repertories of dance music. In order to the effective results this study adjusts J.S. Bach’s «French Suite No.5» to the modern organ. Based on each song’s characteristics in the suite, it suggests organ registration and articulations. As a result of the study, ‘basse danse’ such as allemande, sarabande usually used flute tones which can express slow movements and the weight and especially using pedals in the base tones to add abundance. Also, legato expressed an elegant and beautiful flow of melodies. ‘haute danse’, such as courante, gavotte, bourrée, loure and gigue, used reed, which is harmony with speedy movements and jumps, and big and small pleno including mixture tone. In addition, using manual more than pedal to express light and speed. Moreover, using non-legato and staccato to express lively and saltatory movements. Dance suite is a form of music, which contains the characteristics of dance, and therefore the player must well understand the sense of weight, space and flow of the dance, in order to provide the most suitable registration for given choreography. The new and convergent attempt of creating dance with organ music has enough value in terms of performing art and can be expected to be highly utilized. The collaboration between organ and dance can be a good medium for dancers to try original and new forms of work away from the reproduction of existing works, and for organists, it will bring the expandability of a new program called grafting with dance. It is with high hopes and expectations that the organ will be a fresh material for dance music and that continuous convergence research will be conducted in the future.