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Karlheinz Stockhausen의 Klavierstuecke Nr.2 硏究分析

Karlheinz Stockhausen의 Klavierstuecke Nr.2 硏究分析
Other Titles
Analytical Study of Klavierstucke Nr.2 by Karlheinz Stockhausen
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대학원 기악과
梨花女子大學校 大學院
모든 世界史의 흐름이 그렇듯이, 음악에 있어서도 새로운 試圖를 위한 ?統으로 부터의 脫皮가 끊임없이 일어나고 있었음을 안다. 특히 20세기에 들어서면서 음악은 다른 어떤 時代보다도 더욱 革新的이고 충격적인 樣相을 띄게 되었다. 調性의 崩壞는 이미 19세기 Wagner에 의해 시작되었지만, 모든 음악의 秩序가 과거와는 전혀 다른 形態에 直面란 現代音樂이 어떻게 ?統에서 탈피하여 發展하였나 하는 것을 알아보려는 意圖에서 現代 音樂의 代表的 作曲家라 할 수 있는 Karlheinz Stockhausen의 作品, Klavier stucke Nr.2를 硏究·分析하였다. 序論에서는 이러한 意圖를 밝혔으나 本論을 3개의 章으로 나누어, 作品 分析에 들어가기에 앞서 Stockhausen의 音樂 世界에 對한 理解를 돕기 위해 그의 活動背景을 살펴 본 뒤, 그가 行한 여러가지의 새로운 意圖를 立證하는 作品들을 通해 그의 全般的인 音樂樣相을 알아 보았다. 그 후 作品 分析에 들어 갔는데, 그 결과 Stockhausen은 Schoenberg의 12音 技法과 그것을 確張, 發展시킨 Webern의 影響을 받아 作品에 반영시켰으나 거기에 머무르지 않고 그것을 발판으로 獨自的인 Style 構築의 試圖를 模索하였음을 알 수 있었다.;As is the case with the world history, music is no exception as it relates to a continued struggle to rid itself of traditional Influence imposed by the past. Such a struggle became more conspicuous after the turn of the century than ever before. Undermining of tonality was already initiated by Wagner during the second half of nineteenth century. However, beside tonal breakdown, contemporary music faces a totally new musical order which is quite different from the past. This thesis focused on such new order which is the energy generating source for the contemporary music and Stockhausen's Klavierstucke Nr.2 was arbitrarily selected for an analysis to support the above statement. In introduction the writer's thesis, plan is introduced and the main body is divided into three chapters before the analysis to help the reader understand the background of Stockhausen's musical activities. In the analysis chapter, innovative musical efforts by Stockhausen are discussed, and brought to the foreground. It is clear, after an analysis of his works, that Stockhausen came under the influence of Schoenberg's serial technique and Webern, in particular, who further developed and extended Schoenberg's serial technique. Stockhausen was not content with reflecting such serial influence literally in his compositions, but he used the serialism as a springboard to create his personal idiom and style which makes his music sound like his.
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