스트라빈스키의 초기 음열음악 <셰익스피어에 의한 세 개의 노래>에 나타난 조직성

Abstract

This study analyzes Stravinsky’s early serial work, <Three Songs from Shakespeare>, with the premise that a highly systemized serial design is included. In order to illustrate ‘system’ or set of guidelines for the applications of successive rowforms and the forgoing of large units, this study focuses on linear pc organization for explaining certain attributes more comprehensively. In doing so, this study has been guided by the principles of invariance. Pc invariance is a specific idea with a variety of manifestations. It is the basis of the primary relation classes into which row successions have been organized; and it is also responsible for various symmetrical designs that are found within the lines. After analyzing the second movement of <Three Songs from Shakespeare>, this study proposes that pc invariance explains enough Stravinsky’s row structure. The melody which begin on the same pc and the same sequence of intervals has both pc invariance and intervallic consistency. Stravinsky constructs different sections of a piece from similar setworks of array-derived material, consisting of intricate correspondence of set-classes, patterns of transpositional or symmetrical relations and emphasized pcs and pc set. Invariance is thus inter-opus principles for Stravinsky and it is still distinctive in a given context; it serves unique functions. Exploration of its use in the second movement is to attain a deeper understanding of a song that is more than just “a further step along the road” to latter pieces, but instead a worthy destination in itself.