멘델스존 《무언가》에서 나타나는 동형진행 연구
A Study of Sequences Reflected in Felix Mendelssohn' Songs Without Words
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초록
본 논문의 목적은 멘델스존 《무언가》에서 나타나는 동형진행의 양상을, 캐플린의 베이스 진행에 의한 분류법에 의거 동형진행이 기본 악상 발전, 센텐스(sentence) 형성, 악구· 악절 구조, 전조과정 등 작품의 구조적 근간을 이루는 주요 기법임을 고찰하는 것이다. 이를 위하여 동형진행을 작품 안에서의 위치에 따라 분류․ 분석한 결과 첫째, 동형진행은 도입악절의 센텐스 구조에서 기본 악상 발전의 근간이 된다. 이 경우 동형진행은 음표 대 음표의 기계적 반복보다는 전조나 종지 형성에 부합하기 위하여, 그리고 조성확립을 위하여 화성이나 선율의 변형이 초래되었으며 I의 연장이 그 목적이다. 둘째, 도입 악절이외의 부분에서 다양한 양상으로 등장한 동형진행의 핵심적 역할은 B부분에서 새로운 조로의 전조, 원조로의 회귀 등 조성 변화를 유도하며 이는 상위계층에서 으뜸음화를 의미한다. 이외에도 A부분 끝에서 화음의 연장, 악곡의 클라이맥스 형성과 같은 다양한 역할을 수행한다. 동형진행 과정 중 외성 간에 생기는 음정패턴도 간과 할 수 없다. 6-5 패턴, 5-10 패턴, 6-6 패턴이 그 예이며 이러한 음정패턴이 암시 하는 것은 멘델스존이 동형진행을 사용하였을 경우 성부진행 또한 면밀히 계획하여 위계적으로 사용하였다는 점이다. 이것은 쉔커식 분석이론을 이용한 중경층 그래프에서 효과적으로 증명된다.
Abstract
The current study aims to explore the various aspects of the sequences, consistently presented in Felix Mendelssohn's Songs Without Words by focusing on how these sequences affect both the structure and harmonic progression of each piece in a large scale. The analytical method of a Schenkerian approach is used to serve this aim. A sequence is a melodic or rhythmic pattern that is repeated at different levels. As a means of developing a given motivic idea, composers used to apply sequence in their compositions, though the results are varied based on the historical period. William E. Caplin suggests six types of sequences in tonal music. His classification is characterized by a bass progression rather than a root position of harmonic progression. Mendelssohn, who was regarded as a conservative composer in his era, used sequences to develop the structure of motives, phrases, sentences, and forms, as well as to modulate the tonality. Rather than repeating note-against-note, the pattern of sequences varies motives and harmonies in order to adjust cadence at the end of phrase. The sequential pattern almost always accompanies intervallic patterns, which means that Mendelssohn also considers the next level of hierarchy that sequences result in.
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