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슈만의 가곡이중창에 나타난 성부유도기법과 드라마성

Techniques of management of parts and dramatic art in lied-duets by Robert Schumann

임채흥
서울대학교 음악대학 (College of Music Seoul National University)|2006.12|음악이론연구 (Journal of Music and Theory)|제11권 |pp. 41-62

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참고문헌

키워드

모방Imitationvocal chamber music성악 실내악다성부 가곡이중창가곡이중창성부유도동시이중창대화 이중창독백적 대화이중창리더슈필이성부가곡Mehrstimmiges LiedDuett/DuetLiedduettStimmführungSimultanduettDialogduett/dialogue duetMonologisches DialogduettLiederspielZweistimmiges Lied

초록

Abstract

The duets Schumann set to music are presented as the highlight and center of the same genre. He chooses different techniques of management of parts to mediate between the experi- ences of composition of solo songs and the specific opportunities of duet composition. In some simultaneous duets, Schumann aims at creating harmonic and dynamic varieties by emphasizing the second voice. For example in the major-minor-combination (<Wiegenlied am Lager eines kranken Kindes>). Moments in dialogue form are manifold in Schumanns songs, not only as question and answer parts, or as parts that are sung at the same time but are not related to each other, but also simply as musical duets (<Das Gl&uuml;ck>). In almost all dialogue duets he uses a new kind of singing duets which may be called 　“dialogue in monologue form”　and can be understood as musical expression of poetry. Usually, parts of imitation are brief in the songs and function as impulses. The different musical atmospheres in his songs can be descreibed in two terms: serene　 und melancholy. Quite often, they are used at different times in the same song or even at the same time. Thus, they sometimes cause an ambivalent or neutral impression.

참고문헌 (28)

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