Paul Hindemith의 Sonata for Flute and Piano에 대한 연구 분석

Abstract

Paul Hindemith (Hanau, 1895 - Frankfurt, 1963) is the greatest German neoclassicist of years between the world wars. His career is typical of his generation : a youthful period of experimentation gave way shortly after the First World War to a more traditional artistic orientation. In his early music, Hindemith dabbled in many of the experimental approaches to composition of his day : atonality, Expressionism, jazz, parody, and satire. Among her many other works, <Sonata for Flute and Piano(1936)>, Symphony <Metamorphosis(1943)>, and Symphony <Mathis of Painter(1934)> represent the peak of her composing career. In this thesis, I analyse <Sonata for Flute and Piano> which approached the investigation of simple harmony and clear structure. In this work, the use of church mode, canon, imitation and ostinato creates an easy music to the ear. I would like to research about this piece not only because of my personal preference toward it, but also because it is a part of the standard repertoire of most students studying flute. I discuss the musical background of Hindemith's life and the characteristics of his music first, followed by detailed analysis of <Sonata for Flute and Piano> in terms of musical form, melody, rhythm, and harmony, by each movement. To conduct an in-depth analysis of neo-classical characteristics, two works by Hindemith, <Metamorphosis(1943)> and <Mathis the Painter(1932)> were compared to <Sonata for Flute and Piano(1936)>. While different in genre from sonata, the first two symphonic works make significant use of flute and show similar musical traits. The first common trait is the thematic approach. All three works use two or more thematic melodies in each movement, which continue to be repeated or imitated. The second trait is rhythm, which is again repeated and transformed through contraction and expansion. Such a transformation leads to the continuous development of motifs. Another technique shown in all three works is the ostinato, which makes frequent and continuous use of sequences, creating mechanical effect. Consequently, the third trait is percussive effect in timbre. Consistent use of repetitive rhythm without big leaps causes the timbral effect of each instrument to emerge to the fore, maximizing percussive effect. The fourth trait is harmony. Using Baroque church modes, all three works transmute themes by upward or downward scales based on contrapuntal imitative techniques. The final common trait among the three works is the composer’s functional and practical view on music. The two symphonic works are orchestral pieces, but sound like a chamber piece, mainly due to thin texture and a limited number of notes centered on the melody played by key instruments, which makes his music rather easy to listen to. This analysis has shown that Hindemith was one of the representative composers of twentieth century who, among other contemporary composers with diverse musical techniques and views on music, expressed his own and unique technique in his music, thus continued to examine and show the direction of neo-classical music.;20세기에는 새로운 음악양식 뿐 아니라 전통양식을 수용하는 경향이 나타나면서 조성체계를 포함한 전통 음악양식과 음악관에 대해 관심을 보이며 전통을 현대적으로 새롭게 수용하는 신고전주의라는 음악양식이 생겨났다. 신고전주의는 낭만주의, 인상주의, 표현주의 등 이러한 경향을 거부하고 낭만시대 이전의 양식에 관심을 보였다. 이러한 경향은 1920년대부터 1950년까지 영향력을 미쳤고 대표적 작곡가로는 스트라빈스키(I.Stravinsky), 힌데미트(P.Hindemith), 카셀라(A.Cacella), 프랑스 6인조가 있다. 본 논문에서는 20세기 독일의 대표적 작곡가이자 현대적 어법과 동시에 전통음악을 비중있게 사용한 작곡가인 폴 힌데미트(Paul Hindemith 1895 -1963)의 작품 중 <플루트 소나타(Sonata for Flute and Piano)(1936)>를 선택하여 분석하였다. 신고전주의적 경향이 잘 나타나는 이 작품은 플루트의 선율과 피아노의 반주가 대위법적으로 모방 진행되며 바로크 시대에 사용되었던 오스티나토 기법을 적극적으로 활용하여 단순한 리듬을 지속적으로 반복하고 동시에 그만의 현대적 어법을 가미하여 그의 독특한 음악 양식을 보여준다. 필자는 이러한 특징에 착안하여 힌데미트의 플루트 소나타에 나타나는 음악적 특징을 구성, 화성, 선율, 리듬 등으로 나누어 다양하게 살펴보았다. 그리고 신고전주의의 특징을 좀 더 자세히 고찰하고자 <플루트 소나타>와 비슷한 시기에 쓰인 힌데미트의 <Metamorphosis Symphony>,<Mathis of Painter Symphony>를 <Sonata for Flute and Piano>와 함께 비교해보았다. 본 논문은 힌데미트의 <Sonata for Flute and Piano>에 신고전주의의 특징이 어떻게 나타나는지 다양한 음악적 특징들을 통해 살펴보고자 한다.