재즈의 비화성음군에 관한 연구 - 고전 화성과의 관계를 중심으로

Abstract

The non-chord tones in jazz music often tend to appear in groups, and these groups can be termed as “non-chord tone groups”. The reason why this kind of concept has not been discussed in jazz theory society so far is perhaps that jazz harmony has maximum of seven chord tones including all the tensions, resulting in making the distinction between chord tones and non-chord tones ambiguous. But the distinction between these two has not completely disappeared in jazz era, and only the definition and intensity of distinction became to vary upon circumstances and needs. This thesis tries to establish the concepts of non-chord tone groups as clearly as possible, as well as to find out the relationship between traditional non-chord tone theory and this new non-chord tone group concept. After all, we could introduce this concept as a means of enhancing the efficiency and ingenuity of jazz education, and letting students study european classical music both theoretically and practically at early ages could result in preventing the confusion that they could experience while accepting this new concept at later stages of their jazz studying. Moreover, this kind of research could result in producing the framework for a new unified theory that can cover both classical and contemporar20 y jazz/pop music.