피에트로 마리아 크리스피 교향곡의 2악장에 나타난 갈랑 양식의 변화: 여딩엔의 스키마 이론을 중심으로
Stylistic Changes in the Second Movements of Pietro Maria Crispi's Symphonies: From the Perspective of Gjerdingen's Schemata Theory
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초록
본 논문은 피에트로 마리아 크리스피(1737-1797)의 교향곡 중 2악장을 로버트 여딩엔의 스키마 이론을 이용하여 연구한 글이다. 크리스피는 18세기 중엽 이탈리아 로마를 중심으로 활동하였으며 현재는 거의 완전히 잊혀진 작곡가이다. 그의 음악 대부분은 현대악보로 출판되지 않았고, 필사본으로 문서보관소에 소장되어 있다. 본 논문은 크리스피 교향곡의 가장 중요한 소스인 미국 캘리포니아 버클리 대학의 MS-829에 실려있는 24개의 교향곡을 연구대상으로 하였다. 전통적으로 2악장은 학자들의 특별한 주목을 받지 못했는데, 그것은 소나타 형식을 따르는 1악장이 음악학의 주된 관심사였기 때문이며, 또한 이런 작품들을 분석할 수 있는 학문적인 도구가 없었기 때문이다. 여딩엔의 스키마 이론은 베이스와 소프라노 선율에서 고정된 패턴을 찾아내는 방식으로 이루어지기 때문에, 소나타 형식을 따르지 않는 2악장에 적용하기 적합한 방법론이다. 또한, 본 연구는 크리스피의 곡에서 스키마들을 찾아내는 단순한 수준에 머무르지 않기 위하여, 2악장을 형식에 따라 분류하였으며, 각각의 형식에서 스키마들이 어떻게 사용되는지를 연구하였다. 이를 통해, 크리스피가 다양한 형식들에서 다른 목적을 가지고 스키마들을 사용하였다는 점을 발견하였다.
Abstract
This article investigates the second movements of Pietro Maria Crispi’s symphonies in terms of Robert Gjerdingen’s Schema theory. Cispi (1737-1797) is an eighteenth-century Roman composer and almost completely forgotten nowadays. Most of his music has not been published in modern edition and still remain as manuscript copies in several archives. This research focuses on Crispi’s twenty-four symphonies which are housed as MS-829 in the Library of University of California at Berkeley. Traditionally, the second movements have not received many attention from scholars, partly because their interest was mainly on the first movement which follows sonata form, and partly because there is no systematic methodology to discuss the movements which are not in sonata form. Since Gjerdingen’s Schema theory is based on the melodic pattern between bass and soprano, it is appropriate to use his theory for Crispi’s second movements. This study discusses the formal aspects of these movements in relation to schema in order not to remain as a monotonous “naming” process of various schemata. By this procedure, it reveals that Crispi uses schemata with different purposes in each formal type.
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