윤이상의 『Interludium A für Klavier』에 관한 연구

Abstract

A Korean composer Isang Yun is one of the most famous composers in the world who tried to synthesis Oriental sounds and music techniques with western composition techniques. He composed many unique music pieces based on the Taoism philosophy and the Korean traditional music techniques. He built up his distinctive musical language such as the 'main tone technique' and 'main sound technique' by using appoggiatura, trill, tremolo, and other compound embellishments. Especially, he used 'Sigimsae' and 'Nonghyun' techniques from the korean traditional music, which play very important roles in his music to show a unique korean style. This paper is written for the general understanding of Isang Yun's music style and to find out how exactly he made the Taoism philosophy and the Korean traditional musical techniques appear in his 'Intermezzo A for Piano' through analysis of this work. 'Intermezzo A for Piano' is composed in 1982 after the establishment of his unique musical techniques. Using A as the main tone, he tried to symbolize the meaning of 'perfection', 'pureness' and the origin of Taoism - universe. Also, with various embellishments around the tone A, the music makes harmony between the universe(the main note A) and Yin-Yang(decorative notes). This piano work can be divided into three parts; in part Ⅰ, the music represents the beginning of the universe by emphasizing the note A with decorative and harmonic notes, and the dynamic which decreases rapidly from fortissimo to pianissimo. In part Ⅱ, the music becomes very quite but there are minute movements of numerous notes. In fact, this part stands for the image of 'the movement in stillness' that is related to the Taoism philosophy. In part Ⅲ, the music itself becomes very active once again bet this time, it rashes up to a climax of the sound with all the techniques shown before. After the climax, the music returns to quieyness with the main tone A. In this return, Isang Yun shows the principles of the nature, in other words, the 'cycle of life':birth-death-rebirth. Isang Yun, not like other Oriental composers who just used a few Asian musical notes in their composition, actually constructed his own music world with his own musical language. It may not be easy to understand his music world completely, but we must continue our studies with further researches.; 한국 작곡가 윤이상 (尹伊桑 1917-1995)은 도교철학을 바탕으로 한국 전통음악의 특징을 서양 현대 음악 기법을 통해 사용해 자신만의 독창적인 음악 언어를 만들어냈다. 특히. 개별음(Einzelton)에 대한 개념, 주요음기법(Hauptton)과 주요음향기법(Hauptklang)을 창조했으며, 국악의 시김새와 농현기법을 전타음, 후타음, 트릴, 트레몰로 등의 여러 장식음을 통해 한국적인 색채를 표현하였다. 윤이상은 두 개의 피아노 곡을 작곡했는데, 그 중 「Interludium A für Klavier」(1982)는 그의 음악적 세계관이 확립한 시기에 작곡된 곡으로, 이 곡이 헌정된 일본인 피아니스트 ‘아키’(Aki)의 A가 이곡의 중심음으로 사용되었다. 이 곡은 세 부분으로 나누어져 있으며 도교 사상인 정중동(靜中動), 음양(陰陽)원리와 한국음악 특징인 시김새와 농현기법이 조화를 이룬다. 본 논문에서는 「Interludium A für Klavier」를 통해 윤이상의 독창적인 작곡 세계를 탐구하고 그의 음악에 대한 이해를 좀 더 넓히는데 목적을 두고 있다. 아직 그의 음악세계를 완벽하게 이해하기엔 많은 어려움이 있지만 앞으로도 계속 그의 음악 연구가 이어지고 활성화되기를 바란다.