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Benjamin Britten의 성악음악에 대한 연구

Title
Benjamin Britten의 성악음악에 대한 연구
Other Titles
(A) STUDY OF BENJAMIN BRITTEN'S VOCAL MUSIC : CENTERING AROUND AN ANALYSIS OF 'THE HOLY SONNETS OF JOHN DONNE
Authors
鄭惠景
Issue Date
1985
Department/Major
교육대학원 음악교육전공
Keywords
Benjamin Britten성악음악The Holy Sonnets of John DonneOp.35
Publisher
이화여자대학교 교육대학원
Degree
Master
Advisors
원성희
Abstract
Benjamin Britten (1913-1976), as an English composer who was active in music during the early and middle periods of the 20th century, produced much stage music, including operas, and other major forms such as orchestral music, choral works, chamber music, instrumental music, incidental music for plays and films, vocal music, and also made arrangments of folk songs of various countries, and re-published much vocal music by Henry Purcell, with his own realizations of the continuo parts. Britten was very versatile, and especially composed such a lot of vocal music throughout his life that he contributed to the development of 20th century vocal music. This thesis has as its aim to discover the right interpretation of his vocal music, by emphasizing the analysis of one of his song cycles. 'The Holy Sonnets of John Donne', Op. 35. The study contents are as follows: 1. Britten's life, 2. Britten's vocal music and his style, 3. Analysis of 'The Holy Sonnets of John Donne', Op. 35. As a result, it was found that the style of Britten's vocal music tended to include polytonality and bitonality, and his favourite harmonies were based on the intervals, of a 3rd, 7th and 9th. His characteristic rhythm is in triple time, according to the verbal rhythm of the text, with expert melodic expression. He tended to use a continuos accompanying form such as ground bass, canon, and pedal point. He often used staccatissimo in his vocal music. and great distinctions between the melodic and accompaniament forms, which turned into clear harmony resolving on the tonic chord at the cadence. He was influenced by many composers, but especially by Purcell, and references to Purcell's declamatory style, florid melody and ground bass were found in Britten's works. In the melody there were many parts demanding a wide skip, and to sing piano or pianissimo on a high pitch, and Britten himself being a pianist, perhaps, the style of accompaniment is so difficult that his vocal works are very difficult to accompany. His vocal works are so interesting and varied that it would be good if they were performed more often.;Benjamin Britten(1913~1976)은 20세기 초기부터 중기에 걸쳐 활동을 한 영국 작곡가로 오페라를 포함한 무대를 위한 음악, 관현악곡, 합창곡, 실내악과 기악곡, 연가곡과 성악곡, 영화음악, 그리고 여러나라 민요 및 Henry Purcell의 음악 재현을 위한 편곡등을 남겼다. 이와같이 Britten은 여러 방면의 작품을 썼고, 전 생애에 걸쳐 성악곡을 많이 작곡함으로써 20세기 성악음악발달에 크게 공헌하였다. 따라서 본 논문에서는 그의 수 많은 작중들 중 연가곡 Op. 35를 중심으로 그의 성악음악 양식의 특징을 다루고자 한다. Britten의 에서는 여러 작곡가의 영향 중, 특히 Purcell의 영향이 많이 나타나는데 Purcell 이 성악곡에서 사용한 낭창법과 화려한 선율진행, 그리고 ground bass의 반주형태가 사용되고 있다. 또한 가사는 종교적인 것으로서 그 내용에 따라 다양한 선율유형이 보이며, 주로 선율에서는 빠르고 심한 도약으로 되어 있고, 고음에서는 여리게(p)의 악상을 자주 요구하고 있다. 반주형태는 지속적인 canon, pedal point 가 특징적이고, 애가(lament)인 경우 선율과 반주에서 스타카티시모가 자주 제시되며, 선율과 반주의 관계는 반드시 그 곡의 tonic 화음이나 tonic화음의 근음으로 해결되는 종지등이 사용되고 있다. 이와같이 의 분석을 통해 살펴본 Britten 성악기법은 20세기의 성악곡 중, 특히 독창적인 특성을 보여주고 있다.
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