무조음악에 대한 스트라우스 분석모델의 기본 개념 논의
Basic Concepts of Straus' Analysis Model for Atonal Music
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In this paper, the Five Pieces for String Quartet, Op. 5, No. 2 by Webern expressed its diversity with three different analytical models; prolongational model, associational model and transformational model of Lewin, being remarkably issued in U.S.A. recently. The prolongational model attempts to do this, but when embellishing tones are devoid of function, they become mere content. By this I mean a note a half-step away is simply that; it is no longer a neighbor tone involved in the process of elaboration. The associational model avoids the arbitrary distinction between structural and embellishing tones, but with its emphasis on static collections, it too lacks a sense of musical motion. In the transformational model, we gain a sense of an underlying pitch-class counterpoint, one relatively immune to the vagaries of the contextual surface. And this model seeks out the musical actions that drive the voices forward. In this article, I think that prolongational model, associational model and transformational model for the atonal music analysis suggests a new possibility. Therefore, through this study I hope that we review the recent analysis of the atonal music for ways in which improvements can be made on the defective tools. I also hope that this article helps atonal music composition to get a structural form.
Abstract
In this paper, the Five Pieces for String Quartet, Op. 5, No. 2 by Webern expressed its diversity with three different analytical models; prolongational model, associational model and transformational model of Lewin, being remarkably issued in U.S.A. recently. The prolongational model attempts to do this, but when embellishing tones are devoid of function, they become mere content. By this I mean a note a half-step away is simply that; it is no longer a neighbor tone involved in the process of elaboration. The associational model avoids the arbitrary distinction between structural and embellishing tones, but with its emphasis on static collections, it too lacks a sense of musical motion. In the transformational model, we gain a sense of an underlying pitch-class counterpoint, one relatively immune to the vagaries of the contextual surface. And this model seeks out the musical actions that drive the voices forward. In this article, I think that prolongational model, associational model and transformational model for the atonal music analysis suggests a new possibility. Therefore, through this study I hope that we review the recent analysis of the atonal music for ways in which improvements can be made on the defective tools. I also hope that this article helps atonal music composition to get a structural form.
참고문헌 (24)
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