프로코피예프의 딸림화음, 전통과 혁신의 공존: Op. 64 ≪로미오와 줄리엣≫(Romeo and Juliet)을 중심으로
Prokofiev’s Dominant Chords with Tradition and Innovation in Romeo and Juliet, Op. 64
0
조회
0
다운로드
2
인용
0
참고문헌
키워드
초록
20세기 초반의 대표적인 작곡가인 프로코피예프(Sergei Prokofiev, 1891-1953)는 음악의 전통적인 요소와 혁신적인 요소들을 결합하여 독특한 화음과 음색을 만든 것으로 유명하다. 이러한 프로코피예프의 새로운 화성은 음악이론가들에 의해 1950년대부터 약 40년에 걸쳐 ‘틀린 음’(wrong note)으로 해석되어 다양한 방법으로 연구되었으며, 그 이후에도 그의 ‘예상 밖의 화음 구성음’에 대하여 여러 가지 논리적 접근이 시도되고 있다. 본 논문에서는 그가 임의로 음을 추가하여 색다른 화음을 만든 것이 아니라, 의도적이고 계획적으로 전통적인 딸림화음에 s2와 s4를 추가함으로써 프로코피예프만의 독특한 딸림화음을 만들었다는 것을 보여주고자 한다. 이 화음은 그의 대표적인 오페라, Op. 64. <로미오와 줄리엣>에서 작품 전체적으로 s2와 s4가 서로 결합하거나 혹은 따로 등장하면서 네 가지 종류의 색다른 음색의 딸림화음을 만들고 있다. 이 논문을 통하여 프로코피예프만의 새로운 화성 어법을 소개하고자하며, 반음계적 화성을 분석하는 새로운 기보법도 선보이고자 한다.
Abstract
Sergei Prokofiev, who blended tradition and innovation in his music, remains one of the most popular composers from the early twentieth century. Some theorists have used the expression, “wrong notes,” to describe his unorthodox chord palette. This paper explores his use of “new” dominants with s2 and s4 at cadences in Romeo and Juliet, Op. 64. I found diverse dominants containing the two tones throughout the piece; my research proves he used these chords consciously and intentionally. There are four such dominants: the s2-dominant, s4-dominant, s2-s4-dominant, and compound dominants combining n2 and n4. The purpose of this paper is to establish Prokofiev’s harmonic syntax through his use of special dominant chords.
참고문헌 (30)
- Ashley, Patricia Ruth, "Prokofiev’s Piano Music: Line, Chord, Key", D.M.A, pp.1963
- Bass, Richard, "Half-Diminished Functions and Transformations in Late Romantic Music", Music Theory Spectrum, 23(1), pp.41~60 (2001)
- Bass, Richard, "Prokofiev’s Techniques of Chromatic Displacement", Music Analysis, 7(2), pp.197~214 (1988)
- Bedinghaus, Treva, "A Synopsis of the Romeo and Juliet Ballet", ThoughCo, ~ (2018)
- Cohn, Richard, "Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions", Music Analysis, 15(1), pp.9~40 (1996)
- Cohn, Richard, "Neo-Riemannian Opertations, Parsimonious Trichords, and Their Tonnetz Representaions", Journal of Music Theory, 41(1), pp.1~66 (1997)
- Cohn, Richard, "Square Dances with Cubes", Journal of Music Theory, 42(2), pp.283~296 (1998)
- Cohn, Richard, "Weitzmann’s Regions, My Cycles, and Douthett’s Dancing Cubes", Music Theory Spectrum, 22(1), pp.89~103 (2000)
- Downes, Olin, "Prokofieff Speaks: Russian Composer, Here This Week, Favors Return to Simpler, More Melodic Style", New York Times, 112~ (1930)
- Harrison, Danial, "Supplement to the Theory of Augmented-Sixth Chords", Music Theory Spectrum, 17(2), pp.170~195 (1995)
- Harrison, Danial, "Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents" (1994), University of Chicago Press
- Harrison, Danial, "Nonconformist Notions of Nineteenth-Century Enharmonicism", Music Analysis, 21(2), pp.115~160 (2002)
- Jaffé, Daniel, "Sergey Prokofiev" (2008), Phaidon Press
- Jamieson, Lee, "The Houce of Montage in ‘Romeo and Juliet’", ThoughCo, ~ (2018)
- Jamieson, Lee, "The House of Capulet", ThoughtCo, ~ (2018)
- Nestyev, Israel V., "Sergei Prokofiev: His Musical Life" (1946), A. A. Knopf
- Nice, David. d., "Prokofiev : from Russia to the West, 1891–1935" (2003), Yale University Press
- Stephen D., "Prokofiev’s Ballets for Diaghilev" (2006), Illinois Wesleyan University
- Rifkin, Deborah, "A Theory of Motives for Prokofiev’s Music", Music Theory Spectrum, 26(2), pp.265~289 (2004)
- Rifkin, Deborah, "Making it Modern : Chromaticism and Phrase Structure in Twentieth-Century Tonal Music", Theory and Practice, 31, pp.133~158 (2006)
- Rifkin, Deborah, ""The Quiet Revolution of a B Natural : Prokofiev’s"New Simplicity"in the Second Violin Concerto", Twentieth Century Music, 6(2), pp.183~208 (2009)
- Rifkin, Deborah, "Tonal coherence in Prokofiev’s music: A study of the interrelationships of structure, motives, and design", Ph.d, pp.2000
- Smith, Charles J., "Functional Fishing with Tonnetz: Toward a Grammar of Transformation and Progressions", The Annual Metting of the Society for Music Theory (2003)
- Smith, Charles J., "Music Theory Specual Topics", pp.139~174 (1981), Academic Press
- Smith, Charles J., "The Functional Extravagance of Chromatic Chords", Music Theory Spectrum, 8, pp.94~139 (1986)
- Smith, Charles J., "The Love of Fundamental is the Rood of All Evil: A Case for Casting Out Roman Numerals?", ~ (2008)
- Smith, Charles J., "Tonal Models of Music, 2 Vols", TMM
- Swinden, Kevin J., "Harmonic Tropes and Plagal Dominant Structures in the Music of Anton Bruckner: Theoretical investigation with two case studies", Ph.D, pp.1997
- Swinden, Kevin J., "When Functions Collide: Aspects of Plural Function in Chromatic Music", Music Theory Spectrum, 27(2), pp.249~282 (2005)
- Woo, Ji Hyun, "Modes of Phrygian Functionality:b2-Centered Progressions in Chromatic Music", Ph.D, pp.2008