마르탱 8 Préludes pour le Piano 박과 리듬 분석에 기초한 플라스틱 아니메의 적용
The Application of Plastique Animée based on the Analysis of Beat and Rhythm of Martin's 8 Preludes for Piano
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Frank Martin was one of composers of the 20th century that conducted creative experiments with rhythm. He also put an emphasis on the importance of rhythm education through physical training. This study was based on this philosophy of the composer, and applied the rhythmic theory of Emile Jaques-Dalcroze and the laws of musical of Mathis Lussy to analyze the rhythm of 8 Préludes pour le Piano. Plastique Animée was especially introduced as a tool of helping with the musical expressions of analyzed rhythm. In 8 Préludes pour le Piano, Martin introduced irregular meter, changing meter, and polymeter to experiment meter. By making use of his beat experiments, Martin hinder the regular flows of metrical accent and created musical tension. His heavy emphasis on beat is well illustrated in his metronome marks based on the basic beat and his notation with a unit of beat. In addition, he used rhythmic techniques to go against the regular flows of beat, which come from beat grouping, syncopation, alteration of note values by rest and tie, and cross rhythm. Meanwhile, he loved to use rhythmic counterpoint, anacrusic phrase, and phrase of irregular length to emphasize the rhythmic accent. He also used in details articulation, dynamic marks, and tempo terms to highlight pathetic accent that were derived from changes of melody, rhythm, and harmony. Based on those analysis results, the Plastique Animée consisted of activities including movements in place, movements in space, scat, and singing to experience correlations between music and movement in the context of time-space-energy. Finally, the content of Plastique Animée operation in No. 3 and 4 of 8 Préludes pour le Piano, was introduced as an example. Although the present study shows Martin’s experiments on rhythm and its application of physical movements over preludes. Yet it could be applied to other works, as well. The greatest significance of the this research is thus found in that it a music major instead of a dance major analyzed the musical content of his 8 Préludes pour le Piano, made an attempt at Plastique Animée to reproduce music with physical movements, and shed new light on usefulness of physical working for musical performance.
Abstract
Frank Martin was one of composers of the 20th century that conducted creative experiments with rhythm. He also put an emphasis on the importance of rhythm education through physical training. This study was based on this philosophy of the composer, and applied the rhythmic theory of Emile Jaques-Dalcroze and the laws of musical of Mathis Lussy to analyze the rhythm of 8 Préludes pour le Piano. Plastique Animée was especially introduced as a tool of helping with the musical expressions of analyzed rhythm. In 8 Préludes pour le Piano, Martin introduced irregular meter, changing meter, and polymeter to experiment meter. By making use of his beat experiments, Martin hinder the regular flows of metrical accent and created musical tension. His heavy emphasis on beat is well illustrated in his metronome marks based on the basic beat and his notation with a unit of beat. In addition, he used rhythmic techniques to go against the regular flows of beat, which come from beat grouping, syncopation, alteration of note values by rest and tie, and cross rhythm. Meanwhile, he loved to use rhythmic counterpoint, anacrusic phrase, and phrase of irregular length to emphasize the rhythmic accent. He also used in details articulation, dynamic marks, and tempo terms to highlight pathetic accent that were derived from changes of melody, rhythm, and harmony. Based on those analysis results, the Plastique Animée consisted of activities including movements in place, movements in space, scat, and singing to experience correlations between music and movement in the context of time-space-energy. Finally, the content of Plastique Animée operation in No. 3 and 4 of 8 Préludes pour le Piano, was introduced as an example. Although the present study shows Martin’s experiments on rhythm and its application of physical movements over preludes. Yet it could be applied to other works, as well. The greatest significance of the this research is thus found in that it a music major instead of a dance major analyzed the musical content of his 8 Préludes pour le Piano, made an attempt at Plastique Animée to reproduce music with physical movements, and shed new light on usefulness of physical working for musical performance.
참고문헌 (36)
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