김진아의 Three Pieces for Flute Solo "삶" 의 분석연구

Abstract

김진아의 Three Pieces for Flute Sole "삶"은 2000년에 작곡된 무조적(Atonal)소품이다. 바그너(Wilhelm Richard Wagner, 1813∼1883)의 반음계적인 선율(Chromatic Melody)과 화음(Harmony)으로 인하여 조성(Tonal) 중심적 음악체계는 애매하게 되었으며 불협화음(Dissonance)의 해결을 필요로 하지 않으면서 불협화음을 자유롭게 사용하게 되었다. 이와 같이 20세기에 나타나는 급진적이고 혁신적인 특징은 후기 낭만주의의 음악에서 발생하였고 쉔베르그(Arnold Schoenberg : 1874∼1951)는 낭만주의적인 거대한 규모의 작품보다는 소규모 악기 편성을 사용하였으며 리듬과 대위법을 보다 복잡하고 급속하게 발전시켰다. 1905년∼1912년, 쉔베르그(Arnold Schoenberg : 1874∼1951)는 반음계적인 양식에서 무조성(Atonality)으로 전환하였는데 이것은 전통적인 조성성(Tonality)을 벗어나고자 하는 움직임이었다. 본 논문은 무조성 이론으로 작곡된 본인의 작품을 분석한 것으로서 인간의 삶을 주제로 한다. 각 악장에 나타나는 뚜렷한 주제(Theme)를 다양한 기법과 특징 있는 선율(Melody)과 리듬(Rhythm)으로 표현한다. 자유로운 무조 음악 안에서 일관성 있는 형식과 특징적인 선율이 변화와 발전을 하였으며 작품 전체에 걸쳐서 규칙성과 통일성을 추구하였다. ;After appearance of Wilhelm Richard Wagner (1813∼1883)'s chromatic melody and harmony, there has been an atomsphere that tone-centered musical structure is not critically necessary. Furthermore, dissonance was not to be resolved but to be used freely in their compositions. These rapid and innovative trend appeared on 20th century took place in latter period of romanticism. Arnold Schoenberg(1874∼1951) chose smaller scale orchestras than those of romanticism and he rapidly developed rhythm and counterpoint. In the period of 1905 through 1912, Arnold Schoenberg (1874∼1951) converted chromatic melody to atonality, it was a movement to steer away from traditional tonality. With this background, this thesis analyzes musical piece named "Three Pieces for Flute Solo <Life>". This piece was composed by myself, Jin A Kim, in 2000 and was approached with a point of view of atonality theory. Structural form, unique melody, rhythm and instrumental technique were focused and emphasized for this analysis. "Three Pieces for Flute Solo <Life>" represents 'Human life' as a theme, and reflects human life which starts from mortal earthly life and arrives to eternal life of heaven. Each of three movements has unique theme, 1st movement describes human in present life experiencing many temptations who later repents all his sins, 2nd movement reflects true Christian life which is filled with joy and happiness after repentance, and finally 3rd movement imagines heavenly immortal life after termination of human life. For each movement, unique themes were expressed with various techniques, distinct melody and rhythm. Dissonant melodies were created by introducing leaping more than an octave, augmented intervals and diminished intervals. Complex and rapid rhythms composed with 16th and 32nd notes express chromatic and consonant skip characteristics within the idea of atonal music. Though these pieces were composed in the freedom of atonal music, uniformity was well-kept by utilizing consistent structures and variations of distinguishing melody.