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근대 음악사상에 있어 형식과 내용의 문제
- 근대 음악사상에 있어 형식과 내용의 문제
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- 교육대학원 음악교육전공
- 이화여자대학교 교육대학원
- The subject respecting the terms "form and contents" in music has been a burning question ever since people began to reflect upon music, but the subject which has been answered both in the affirmative and in the negative is repeatedly under debate.
The aims I present the subject on the basis of "Vom Musikalisch Schoenen"(The Beautiful in Music) by Eduard Hanslick are:
Ⅰ) to ascertain the correlative of form and substance as a basic subject of music theory by presenting its significance.
Ⅱ) to revaluate E, Hanslick, so-called formalist, through the careful and unbiased understanding by contending that he is wrongly regarded as a formalist.
Ⅲ) in addition, to look into his nature of musical beauty and spiritual significance of music by analyzing the difference between his affirmative and negative propositions in that he tried to draw a peculiar musical law in support of self-substenance of music.
His musical beauty theory, based on the concept of "form" in the light of the importance of the "specifically musical" form, can be fully regarded as a traditional, classical interpretation which goes back to the aesthetic theory of Plato ani Aristotle, the source of art theory of aesthetic thought; for his form of musical idea re-producted in its entirety.
Ⅰ) Especially his beauty of form through illustration of harmonic progression can be thought to represent the possibility of metaphysical interpretation of a "musical idea".
Ⅱ) the significance of the terms "contents" and "form" in Modern musical Thought", which necessarily result both from the historical interpretation of music on the boundary of programme music and absolute music and from modern problematic circumstances based upon analytic method, establishing a subject on E. Hanslick and of interpreting it.
Therefore, this study, the subject of the terms "Contents" and "Form" in Modern Musical Thought--Based upon E. Hanslick's "Musical Aesthetics" has not, a little significance, Moreover, his musical beauty theory involves important questions such as the boundary of programme music and absolute music, the limit of sculture, painting and music, drama etc. E. Hanslick, in his musical beauty theory, introduces and applies to music an "arabesque" compound of oddments in art history to explain spiritual contents of music and the ultimate value of beauty, and he present. a concrete explanation about, the spiritual, symbolic meaning of Arabesque compound of oddments,
This study, primarily based on his text and interpretation criticized from the comparative and systematic viewpoint, can find its significance in the possibility of revaluating his thought from the viewpoint that ha is not a mere formalist. The reason is that:
a) as fully explained in Chapter 3, the negative preposition of his musical beauty theory (in which he attacked the general tendency that music must represent feelings), does not mean his absolute apathy to music.
b) non-objective beauty of form in music does not, exclude the contents, the spiritual meaning in music.
c) his affirmative proposition that musical beauty is "specifically musical" leads us to the confirmation that he does not stand on the wrong basis.
Ⅲ) It may be said that his central concept "form" became a negative moment toward an affirmative proposition in the course of metaphysical thinking of the contents, the spiritual meaning in music. He supported the traditional viewpoint, and. attacked the classical aesthetics of the eighteenth century by painting out, the source of the ultimata value of beauty through "specifically musical" form and by means of various illustration of harmonic progression.
This study analyzes his propositions (in Chapter 1), and concept, of "Arabesque", central idea in his musical beauty theory (in Chapter 2), and seeks a basic subject in musical beauty through the correlative concepts of "farm" and "contents" for the purpose of criticizing E. Hanslick's theory (in Chapter 3). This study also aims at interpreting critically the subject of "contents" as an intrinsic subject of "form" by illustrating musical composition.;음악 이론에 있어 형식과 내용이라는 양개념에 상관관계를 중심으로 문제들은 음악이론에서뿐만이 아니라 그 문제성의 의미 비중으로 보아 문제사적으로 오래전부터 수많은 사람들이 다루어온 문제이다. 이 문제 설정의 의도는 :
ㄱ. 형식과 내용의 관계 문제를 음악이론의 근본 문제로 확인하고자 하며,
ㄴ. 문제설정과 전개를 통해 얻으려는 본 논문의 결과는 세칭 형식주의자라고 불리우는 한스릭(Eduard Hanslick)에 대해 「선입관이 없는 주의 깊은」이해를 거쳐 그를 형식주의자라고만 보는 것은 잘못된 사실이라고 밝히며,
ㄷ. 나아가 음악의 자율성을 적극 주장하면서 「특수한」「음악적법칙」을 찾으려든 그의 확신속에 명제를 찾아 무엇이 그의 부정형의 명제이며 무엇이 긍정형의 명제인가를 우선 분별하면서 그 명제 분석과 아울러 그의 「음악미」의 본질과 함께 음악의 정신적 의미를 추구하려는데 있다.
우리는 먼저 한스릭 「음악미론」에서 이론적 기초를 제 II장에서 검증하기 위해 그의 명제를 제 II장의 A에서 분석하고, 이어서 「음악미론」에 있어서 중심개념이 되는 아라베스크(ArAbesque) 개념을 제 II장의 B에서 분석한 뒤 한스릭에 대한 비판적 주석을 제 III장에서 설명하고자 한다. 그러기 위해서는 한스릭의 「형식」개념에서 형성의 내재적인 문제로 「내용」의 문제를 제 III장의 A에서 제시하며, 이것을 작곡의 예증을 통해 제 III장의 B에서 확인하면서 본 논문의 주제적인 문제의 전개를 구체화 했다.
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