A overviewng research has been made on the doctoral dissertations and the master's theses presented in Korea to date that concentrated mainly on Schumam's Dichterlibe op.48. Of 22 dissertations or theses that were known to have worked on this particular subject, two were unavailable, 20 papers have ...
A overviewng research has been made on the doctoral dissertations and the master's theses presented in Korea to date that concentrated mainly on Schumam's Dichterlibe op.48. Of 22 dissertations or theses that were known to have worked on this particular subject, two were unavailable, 20 papers have been carefully studied and their content systematically documented in this report. First by looking into theses presented at each school, one can easily find that studies done are rather evenly distributed among the schools located in Seoul and other locality. Of 22 that can be found, 14 have been the work of schools in Seoul and the remaining 8 in the rest of the country. And at least one or two of those were presented every year except '79 and '86 throughout the country. This report attempted to classify those available 20 papers into three different categories and after thorough studies made on each paper, then they were generalized and analyzed according to the catagory. The first catagory of the theses concentrating mainly on the tune analysis can be further classified as follows: 1. Form 2. Melody(the accompaniment) 3. Harmony(tonality) 1. Form The 1st, 5th, 7th, 8th, 9th, 12th, 13th, and 14th tunes are strophen Lied Form. The 12th, 13th, and 14th are modified strophen Lied Form, and the 7th, l0th, 11th, 15th and 16th are Durchkomponiente Lied Form; most of them show relatively diverse and various forms. 2. Melody(the accompaniment) The 2nd, 3rd, 4th, 5th, 6th, 7th, 8th, 13th, and 14th tunes are formed to have the voice and accompaniment start without prelude or follow immediately after the tunes, or in the case of the 5th and 7th tune the accompaniment is completely indipendant from the voice and acting not as a supplement but as a solo. For this reason it is possible to assume that the role of the accompaniment in Schumamn Lied is specificully characterized. 3. Harmony(tonality) The 1st tune starts with F minor and ends with the 16th tune in C minor. We can find a frequent usage of suspension and secondary chord in the accompaniment. The 12th tune for example, at the very beginning of the tune, German 6th chord has been inserted. This utilization of variable chords throughout the entire tune makes the harmony colorful and characteristic. In the 2nd category, theses dealing with the performing techniques contend that it is imperative to understand the 1st tune through 16th tune of Dich ter Libe, especially that of A. Some of the theses also emphasize. One must be extra careful so as not to spoil the very delicate flow of emotion and to control the rhythm of each tune thereby will help convey the diction and control the vocalization smoothly. The 12th thesis discussed mainly about the performing teachinique by comparing 5 vocalists who have performed Dich ter Libe. According to its analysis, when each vocalist's performance was reviewed based upon how flexibly to command the melody, handle the high-pitched tones, and express emotion truly, it was Peter Schreier who scored the highest point. In the 3rd type there are theses that treat the relationship between metrical schemes and music where the 1st, 5th, 8th, 9th, l0th, l1th, and 15th tunes take on the Trimeter of lambus and the disposition to Reime resembles a,b,a,b's kreuzreim. And almost every tune usually has a combination of Jambus Trimeter or Tetra meter and Anapast,whereas a few tunes show that in the early section of the tune, they use the kreuzreim and a,a,b,b's parende reim or a combination of both. As it is observed above, it is quite safe to say that the theses presented usually devote a large amount of time to study the first few tunes very sincerely. However, as they progress toward the last few tunes, they tend to be inattentive, some of them even resemble each other as if they were written by the same person. What we can expect, though, and are convinced is, that such a careless thesis will no longer be presented, since the research work, from synthetic as well as analytic point of view, has been underway according to each specific field of the specialty.
A overviewng research has been made on the doctoral dissertations and the master's theses presented in Korea to date that concentrated mainly on Schumam's Dichterlibe op.48. Of 22 dissertations or theses that were known to have worked on this particular subject, two were unavailable, 20 papers have been carefully studied and their content systematically documented in this report. First by looking into theses presented at each school, one can easily find that studies done are rather evenly distributed among the schools located in Seoul and other locality. Of 22 that can be found, 14 have been the work of schools in Seoul and the remaining 8 in the rest of the country. And at least one or two of those were presented every year except '79 and '86 throughout the country. This report attempted to classify those available 20 papers into three different categories and after thorough studies made on each paper, then they were generalized and analyzed according to the catagory. The first catagory of the theses concentrating mainly on the tune analysis can be further classified as follows: 1. Form 2. Melody(the accompaniment) 3. Harmony(tonality) 1. Form The 1st, 5th, 7th, 8th, 9th, 12th, 13th, and 14th tunes are strophen Lied Form. The 12th, 13th, and 14th are modified strophen Lied Form, and the 7th, l0th, 11th, 15th and 16th are Durchkomponiente Lied Form; most of them show relatively diverse and various forms. 2. Melody(the accompaniment) The 2nd, 3rd, 4th, 5th, 6th, 7th, 8th, 13th, and 14th tunes are formed to have the voice and accompaniment start without prelude or follow immediately after the tunes, or in the case of the 5th and 7th tune the accompaniment is completely indipendant from the voice and acting not as a supplement but as a solo. For this reason it is possible to assume that the role of the accompaniment in Schumamn Lied is specificully characterized. 3. Harmony(tonality) The 1st tune starts with F minor and ends with the 16th tune in C minor. We can find a frequent usage of suspension and secondary chord in the accompaniment. The 12th tune for example, at the very beginning of the tune, German 6th chord has been inserted. This utilization of variable chords throughout the entire tune makes the harmony colorful and characteristic. In the 2nd category, theses dealing with the performing techniques contend that it is imperative to understand the 1st tune through 16th tune of Dich ter Libe, especially that of A. Some of the theses also emphasize. One must be extra careful so as not to spoil the very delicate flow of emotion and to control the rhythm of each tune thereby will help convey the diction and control the vocalization smoothly. The 12th thesis discussed mainly about the performing teachinique by comparing 5 vocalists who have performed Dich ter Libe. According to its analysis, when each vocalist's performance was reviewed based upon how flexibly to command the melody, handle the high-pitched tones, and express emotion truly, it was Peter Schreier who scored the highest point. In the 3rd type there are theses that treat the relationship between metrical schemes and music where the 1st, 5th, 8th, 9th, l0th, l1th, and 15th tunes take on the Trimeter of lambus and the disposition to Reime resembles a,b,a,b's kreuzreim. And almost every tune usually has a combination of Jambus Trimeter or Tetra meter and Anapast,whereas a few tunes show that in the early section of the tune, they use the kreuzreim and a,a,b,b's parende reim or a combination of both. As it is observed above, it is quite safe to say that the theses presented usually devote a large amount of time to study the first few tunes very sincerely. However, as they progress toward the last few tunes, they tend to be inattentive, some of them even resemble each other as if they were written by the same person. What we can expect, though, and are convinced is, that such a careless thesis will no longer be presented, since the research work, from synthetic as well as analytic point of view, has been underway according to each specific field of the specialty.
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