드뷔시에 대한 역사적 견해는 일반적으로 19세기 양식에서 과감히 탈피하여 인상주의를 정착시켰으며, 조성적 수단을 의지하지 않고 전통적인 형식을 따르지 않는 새로운 형태의 음악을 가능하게 한 작곡가로 나타난다. 그러나, 그 이면에는 19세기 낭만주의의 종합자로서, 20세기 양식의 시작으로서의 의미가 공존하고 있음을 간과할 수 없다. 본 연구는 드뷔시 음악에 있어서의 조성적 개념을 셍커 구조이론에 의해서 분석 연구함으로 역사관의 보다 명확한 결과를 얻고자 시도 진행되었다. 연구 과정에서 중점적으로 다루어진 소재는 근대와 현대 20세기 음악에서 중의성의 대표적 요소로 부각된“4도”에 대한 내용이며, 텍스트는 드뷔시 12개의 연습곡 중 세번째 곡인 “4도를 위하여”이다. 분석의 결과 이 작품은 4도 수평화와 증4도 관계의 전조 그리고 서술적인 3부형식 등의 요소에 의해 가려져 있긴 하나 엄격히 조성의 구조를 따르고 있으며, 다른 한편에서는 화성적 금기 사항을 음악적으로 자기의 음악 속에 용해시켜 사용하는가 하면 선법적 요소, 온음계적 흔적 등을 통해 진보적 입장을 나타내고 있음을 알 수 있었다. 결론적으로 20세기 전위적 기법의 선봉인 드뷔시는 외면적으로는 새로운 기법에 의한 진보적 입장을 보이지만, 내면적으로는 조성의 기본구조를 따르는 전통주의자의 입장을 고수한 작곡가로 볼 수 있다.The contention that the complete technique found in the Debussy's music have developed and transformed on the basis of tonality offers a serious question to the general opinion that Debussy has brought about a new style of music which breaks from the 19the century style and is independent of tonal means and forms. This study is to discuss the ...
드뷔시에 대한 역사적 견해는 일반적으로 19세기 양식에서 과감히 탈피하여 인상주의를 정착시켰으며, 조성적 수단을 의지하지 않고 전통적인 형식을 따르지 않는 새로운 형태의 음악을 가능하게 한 작곡가로 나타난다. 그러나, 그 이면에는 19세기 낭만주의의 종합자로서, 20세기 양식의 시작으로서의 의미가 공존하고 있음을 간과할 수 없다. 본 연구는 드뷔시 음악에 있어서의 조성적 개념을 셍커 구조이론에 의해서 분석 연구함으로 역사관의 보다 명확한 결과를 얻고자 시도 진행되었다. 연구 과정에서 중점적으로 다루어진 소재는 근대와 현대 20세기 음악에서 중의성의 대표적 요소로 부각된“4도”에 대한 내용이며, 텍스트는 드뷔시 12개의 연습곡 중 세번째 곡인 “4도를 위하여”이다. 분석의 결과 이 작품은 4도 수평화와 증4도 관계의 전조 그리고 서술적인 3부형식 등의 요소에 의해 가려져 있긴 하나 엄격히 조성의 구조를 따르고 있으며, 다른 한편에서는 화성적 금기 사항을 음악적으로 자기의 음악 속에 용해시켜 사용하는가 하면 선법적 요소, 온음계적 흔적 등을 통해 진보적 입장을 나타내고 있음을 알 수 있었다. 결론적으로 20세기 전위적 기법의 선봉인 드뷔시는 외면적으로는 새로운 기법에 의한 진보적 입장을 보이지만, 내면적으로는 조성의 기본구조를 따르는 전통주의자의 입장을 고수한 작곡가로 볼 수 있다.The contention that the complete technique found in the Debussy's music have developed and transformed on the basis of tonality offers a serious question to the general opinion that Debussy has brought about a new style of music which breaks from the 19the century style and is independent of tonal means and forms. This study is to discuss the difference of these two opinions from the point of a new view that the musical style of Debussy is based upon tonality and thus to analyze the Dubussy's music as a fruit of the 19th century style. Tonality means that all the tones and harmonies have gravitational relations with a specific tone of harmony. Therefore, the tonality introduced at first reappears through a transitional phrase to maintain a musical stability. Debussy has employed a new and free style deviated from the stable basic structure of A-B-A' Which had been frequently used until 19th century. That is why it added much difficulty to this study to expect a tonal stability from him. It requires an effective theory to remove the factors in the works of Debussy shadowing the basic gravitational relations in the I-V-I structure which is a fundamental harmonic progression of the conventional functional harmony. I have decided upon the Schenker System as a theoretical background to meet such requirement. For I think this theory(Schenker system) is a basic structural theory (Schenker system) is a basis structural theory to explain the gravitational relations in tonality. The analysis found the following process of removing unnecessary factors in each structural floor for the fundamental harmonic progression: Foreground : Since a style of the times or a technical characteristic of a composer comers up to the surface in this floor, the fundamental harmonic structure is almost concealed. It can be seen, however, that outstanding techniques in this piece, namely the removal of embellishing tones in horizontalization and that of neighbor-passing chord and neighbor-note chord brought the establishment of F Major to Part A, the prolongation of the original key and the modulation to C^(b) Major to Part B and to Part C the expansion of contrapuntal chord including neighbor-passing chord and neighbor-note chord, namely the change for contrast. The process of the Coda getting back to the original key is shown as A^(b)-D^(b)-F Major. Middle Ground : Shown in the following example is the structure free form any unnecessary thing of the foreground Example 1) Summary of the middle ground in each part ◁그림 삽입▷(원문을 참조하세요) Seeing form the content of the example, the tonal outline as a whole is F-C^(b)-G-D^(b)-F Major. Example 2) ◁그림 삽입▷(원문을 참조하세요) Background : When we regard as "I" the orginal key of Part A and Coda in the above example, the C and D Major forming a transforming phrase play the role as no more than the transforming factors around "V" in F Major because of the tonal gravitation returning to the original key form the Coda Therefore, it is evident that the flow of this example is built upon the framework of the following example. Example 3) ◁그림 삽입▷(원문을 참조하세요) The analysis on Debussy's "Pour Les Quartes" shows that it is built upon the Four-degree parallel motion and pentatonic scale within the framework of I-V-I, the fundamental harmony for tonality though its structure is somewhat shadowed by horizontalization, neighbor-note chord, auxillary neighbor-passing chord and radical modulation. When the inner structure of this work is reversed, it is still based upon the I-V-I structure. These findings challenge the general theory insisting Debussy is the pioneer of the avant-gardism in the 20th century, surfacing an aspect of the traditional Debussy. This means the theoretical background of his work consists in the principle of tonality. This piece holds greater significance as it belongs to the late period of Debussy. In conclusion, Debussy who is generally looked upon as the pioneer of the 20th century avant-gardistic techniques, looks as if be keeps a progressive position since he has invented new scale, applied church modes and taken advantage of taboo in the tonal structure for musical purpose. However, examining his work more closely, it becomes clear that he is conventionalist writing his pieces with the fundamental structure of tonality.
드뷔시에 대한 역사적 견해는 일반적으로 19세기 양식에서 과감히 탈피하여 인상주의를 정착시켰으며, 조성적 수단을 의지하지 않고 전통적인 형식을 따르지 않는 새로운 형태의 음악을 가능하게 한 작곡가로 나타난다. 그러나, 그 이면에는 19세기 낭만주의의 종합자로서, 20세기 양식의 시작으로서의 의미가 공존하고 있음을 간과할 수 없다. 본 연구는 드뷔시 음악에 있어서의 조성적 개념을 셍커 구조이론에 의해서 분석 연구함으로 역사관의 보다 명확한 결과를 얻고자 시도 진행되었다. 연구 과정에서 중점적으로 다루어진 소재는 근대와 현대 20세기 음악에서 중의성의 대표적 요소로 부각된“4도”에 대한 내용이며, 텍스트는 드뷔시 12개의 연습곡 중 세번째 곡인 “4도를 위하여”이다. 분석의 결과 이 작품은 4도 수평화와 증4도 관계의 전조 그리고 서술적인 3부형식 등의 요소에 의해 가려져 있긴 하나 엄격히 조성의 구조를 따르고 있으며, 다른 한편에서는 화성적 금기 사항을 음악적으로 자기의 음악 속에 용해시켜 사용하는가 하면 선법적 요소, 온음계적 흔적 등을 통해 진보적 입장을 나타내고 있음을 알 수 있었다. 결론적으로 20세기 전위적 기법의 선봉인 드뷔시는 외면적으로는 새로운 기법에 의한 진보적 입장을 보이지만, 내면적으로는 조성의 기본구조를 따르는 전통주의자의 입장을 고수한 작곡가로 볼 수 있다.The contention that the complete technique found in the Debussy's music have developed and transformed on the basis of tonality offers a serious question to the general opinion that Debussy has brought about a new style of music which breaks from the 19the century style and is independent of tonal means and forms. This study is to discuss the difference of these two opinions from the point of a new view that the musical style of Debussy is based upon tonality and thus to analyze the Dubussy's music as a fruit of the 19th century style. Tonality means that all the tones and harmonies have gravitational relations with a specific tone of harmony. Therefore, the tonality introduced at first reappears through a transitional phrase to maintain a musical stability. Debussy has employed a new and free style deviated from the stable basic structure of A-B-A' Which had been frequently used until 19th century. That is why it added much difficulty to this study to expect a tonal stability from him. It requires an effective theory to remove the factors in the works of Debussy shadowing the basic gravitational relations in the I-V-I structure which is a fundamental harmonic progression of the conventional functional harmony. I have decided upon the Schenker System as a theoretical background to meet such requirement. For I think this theory(Schenker system) is a basic structural theory (Schenker system) is a basis structural theory to explain the gravitational relations in tonality. The analysis found the following process of removing unnecessary factors in each structural floor for the fundamental harmonic progression: Foreground : Since a style of the times or a technical characteristic of a composer comers up to the surface in this floor, the fundamental harmonic structure is almost concealed. It can be seen, however, that outstanding techniques in this piece, namely the removal of embellishing tones in horizontalization and that of neighbor-passing chord and neighbor-note chord brought the establishment of F Major to Part A, the prolongation of the original key and the modulation to C^(b) Major to Part B and to Part C the expansion of contrapuntal chord including neighbor-passing chord and neighbor-note chord, namely the change for contrast. The process of the Coda getting back to the original key is shown as A^(b)-D^(b)-F Major. Middle Ground : Shown in the following example is the structure free form any unnecessary thing of the foreground Example 1) Summary of the middle ground in each part ◁그림 삽입▷(원문을 참조하세요) Seeing form the content of the example, the tonal outline as a whole is F-C^(b)-G-D^(b)-F Major. Example 2) ◁그림 삽입▷(원문을 참조하세요) Background : When we regard as "I" the orginal key of Part A and Coda in the above example, the C and D Major forming a transforming phrase play the role as no more than the transforming factors around "V" in F Major because of the tonal gravitation returning to the original key form the Coda Therefore, it is evident that the flow of this example is built upon the framework of the following example. Example 3) ◁그림 삽입▷(원문을 참조하세요) The analysis on Debussy's "Pour Les Quartes" shows that it is built upon the Four-degree parallel motion and pentatonic scale within the framework of I-V-I, the fundamental harmony for tonality though its structure is somewhat shadowed by horizontalization, neighbor-note chord, auxillary neighbor-passing chord and radical modulation. When the inner structure of this work is reversed, it is still based upon the I-V-I structure. These findings challenge the general theory insisting Debussy is the pioneer of the avant-gardism in the 20th century, surfacing an aspect of the traditional Debussy. This means the theoretical background of his work consists in the principle of tonality. This piece holds greater significance as it belongs to the late period of Debussy. In conclusion, Debussy who is generally looked upon as the pioneer of the 20th century avant-gardistic techniques, looks as if be keeps a progressive position since he has invented new scale, applied church modes and taken advantage of taboo in the tonal structure for musical purpose. However, examining his work more closely, it becomes clear that he is conventionalist writing his pieces with the fundamental structure of tonality.
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