후고 볼프 가곡에 나타난 조성적 모호성의 구조적 기능 연구

Abstract

This study argues that the tonal ambiguity in the Lieder of Hugo Wolf (1860-1903), contrary to the common interpretation of it as a sign of the collapse of the tonal system, is in fact a core dramatic device that works in conjunction with the poetic narrative to create a high degree of structural cohesion His ambiguous harmonic language is not an expression of confusion but an intentional architectural principle for elaborately constructing the poetic narrative. For this purpose, this study adopts Deborah Stein’s concept of ‘extended tonality’ as its theoretical framework, analyzing the interaction between macro-level tonal structure and micro-level voice leading. The subjects of analysis are‘Auf ein altes Bild’ and ‘Schlafendes Jesuskind’, which represent Wolf’s different approaches to achieving structural unity and are analyzed in depth The analysis reveals that ‘Auf ein altes Bild’ exemplifies a model of ‘static polarity between the tonic area (F# minor) and the subdominant area (B minor), making the unresolved tension itself the structural core. In contrast,‘Schlafendes Jesuskind’achieves structural completeness through the narrative of a‘dynamic journey’, systematically departing from and returning to a clear tonality (F major). Through these two contrasting methods, this study reveals that Wolf's harmonic techniques are not a deconstruction of tonality, but a highly calculated structural redefinition intended to musically implement the poem’s internal logic. In conclusion, Wolf’s music is an independent and logical system that explored the expressive and structural possibilities of tonality to their limits. This suggests the need to re-evaluate late-Romantic music as an independent artistic style with its own internal logic.