슈만의 가곡분석에 적용된 분석이론 간의 상호보완적 역할:《여인의 사랑과 생애》Op. 42중 제 2곡 <Er, der Herrlichste von allen>을 중심으로

Generally speaking, the functional harmonic progression of tonal music can be analyzed through the traditional method of harmonic analysis. But for the tonal music of Romantic period full of chromaticism and progressively evolving from the functional harmonic progression, we need to apply various analytical tools that can provide comprehensive view. The harmonic progression of Schumann’s “Er, der Herrlichste von allen,” the second song from the song cycle, Frauenliebe und Leben (1840), remains within the boundary of tonal frame. That is to say, it begins with a tonic and ends with an authentic cadence of V-I progression. But this song features functional harmonic progressions along with chromatic progressions employed for the content of the poem that describes the trembling heart of a woman for the beloved. Therefore, for the macroscopic analysis of the work, we can used the Schenkerian analytical technique, but for the characteristic features of chromatic progressions, it is better for us to apply the Neo-Riemann transformation theory. The purpose of this paper is to recognize the usefulness of various analytical tools applied to the analysis of a tonal music, and to emphasize the necessity of a reciprocal role of these tools.