외성 간의 대위법적 관계를 통해 살펴본 서구음악의 분열적 양극성

Abstract

The contrapuntal relationship between outer voices in the music of classical era is a result of composers’ subconscious tendency toward contrapuntally sensible voice leading, and as a trait of prior era, exemplifies the evolution of musical techniques. This unique way of developing musical ideas upon the sense of distinguishing the fluid nature of imperfect consonances from the static nature of perfect consonances, came to result in favoring certain types of outer voices when making phrases. This thesis categorized such cases into two main types, namely ‘upward’ and ‘downward’, and presented corresponding examples among the pieces of baroque to modern popular music. Meanwhile, certain amount of classical music, modern popular music, and folk influenced tonal music such as jazz often show no contrapuntal relationship between outer voices. This thesis examined such cases thoroughly, and speculated on the nature of non-western music. Eventually, it is needed to philosophically clarify what the very essence of contrapuntal nature of western music is, which reveals the potent danger that is divisive tendencies in it, as seen from the point of view of the philosophy of organism. It is also revealed that traditional expression techniques such as nonghyun in Korean music, portamento and vibrato are all indispensible organic musical content, hence the jazz music can be understood as a fusion of such traditional techniques and western polyphony, which can be termed as ‘organic counterpoint’.