무용 즉흥연주를 위한 선법 분석 및 활용법
Analysis and utilization of modes for music improvisation in dance
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The purpose of this study is to present new modal utilizing ways that can be performed immediately on the keyboard by analyzing the modes with major or minor tonalities rather than the general analysis. For the analysis, among the eight medieval church modes, this study deals with the four authentic modes; Mixolydia, Lydia, Phrygia, and Doria. Compared to the major, Mixolydia and Lydia show a difference of 7♭ and 4♯, and the Phrygia and Doria show a difference of 2♭ and 6♯ compared to the minor. Based on these differences, the key signatures are inferred. The utilization of modes is examined in three categories: melody, harmony, and cadence. For melody, accidentals on modes are replaced with the key signatures of the major or minor tonalities. For harmony, utilize the borrowed chords. Useful chords for modal improvisation are ♭Ⅱ and ♭Ⅶ, and effective harmonic progressions are Ⅰ-♭Ⅱ-Ⅰ and Ⅰ-♭Ⅶ-Ⅰ. For cadence, use ♭Ⅱ, ♭Ⅶ instead of Ⅴ. ♭Ⅱ-Ⅰ, ♭Ⅶ-Ⅰ are more effective than Ⅴ-Ⅰ for authentic cadence. Modes contain various emotions. This study analyzed the modes most efficiently and provided a creative ways to use it, opening up the possibilities of improvisation in dance. This study can be applied and developed in various ways, such as combining the rhythm of folk dance or applying modes to court dance.
Abstract
The purpose of this study is to present new modal utilizing ways that can be performed immediately on the keyboard by analyzing the modes with major or minor tonalities rather than the general analysis. For the analysis, among the eight medieval church modes, this study deals with the four authentic modes; Mixolydia, Lydia, Phrygia, and Doria. Compared to the major, Mixolydia and Lydia show a difference of 7♭ and 4♯, and the Phrygia and Doria show a difference of 2♭ and 6♯ compared to the minor. Based on these differences, the key signatures are inferred. The utilization of modes is examined in three categories: melody, harmony, and cadence. For melody, accidentals on modes are replaced with the key signatures of the major or minor tonalities. For harmony, utilize the borrowed chords. Useful chords for modal improvisation are ♭Ⅱ and ♭Ⅶ, and effective harmonic progressions are Ⅰ-♭Ⅱ-Ⅰ and Ⅰ-♭Ⅶ-Ⅰ. For cadence, use ♭Ⅱ, ♭Ⅶ instead of Ⅴ. ♭Ⅱ-Ⅰ, ♭Ⅶ-Ⅰ are more effective than Ⅴ-Ⅰ for authentic cadence. Modes contain various emotions. This study analyzed the modes most efficiently and provided a creative ways to use it, opening up the possibilities of improvisation in dance. This study can be applied and developed in various ways, such as combining the rhythm of folk dance or applying modes to court dance.
참고문헌 (14)
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