조이진의 “Psalm for Soprano and Piano" 의 분석 연구

Abstract

본 논문은 20세기 초 제 2비엔나 악파(The Second Viennese School)에 의해 탄생된 '무조적 개념'을 기초로 하여 쓰여진 본인의 작품 ‘Psalm for Soprano and Piano'를 분석한 것이다. 이 곡은 두 개의 시편 ‘제 22장’과 ‘제 144장’에 곡을 붙인 것으로써 각각 ‘원망’과 ‘찬양’를 소재로 삼고 있다. 두 개의 악장이 내용적으로 서로 대비가 되어있어 음정, 빠르기, 음형, 리듬적인 면에 있어서 구분이 되도록 하였지만 형식적인 면에는 연관성을 두었다. 첫 곡 ‘시편 22장’에서는 원망과 우울, 비참함, 슬픔을 강조하는 반음계적인 선율과 증4도, 장2도, 장7도를 중심으로 작곡하였고 둘째 곡 ‘시편 144장’에서는 기쁨과 감사, 찬송을 강조하여 완전 4도 및 온음계적 선율을 중점적으로 작곡하였다. 또한 곡의 형식적인 측면에서는 시편 시의 연의 구분에 따라 첫 곡은 4개의 단락으로, 둘째 곡은 5개의 단락으로 구성하였다. 그 외에도 시의 내용과 연관된 여러 개의 다양한 음형(figure)이 유기적으로 엮어져서 곡 전체를 이끌어 가고 있다. 본 곡을 통하여 시편의 성경적이며 시적인 이미지가 현대적 음악어법과 조화를 이루어 효과적으로 표현될 수 있음을 나타냈다.;Tonal music which forms the mainstream of Western music has begun to collapse gradually with Chromaticism of Wagner at the end of the 19th century. The enlargement of the chromatic scale caused to make unsteady the main sound, the foundation of the tonal music. Besides it shows the progressive transition to atonality which has a free dissonance. At the beginning of 20th century, the atonal work has been applied lively in virtue of the second Viennese school It is the name of the composers who worked with Wine as the central figure. The 1st Viennese School, or Viennese Classical School, refers to Hyden, Mozart, Beethoven who took an active part from the mid-eighteenth century to the early nineteenth century. Schoenberg, Webern and Berg from the latter half of the nineteenth century belong to the Second Viennese School performed with Arnorld Schoenberg (1874-1951) as the central figure. The atonal work of this kind came to settle down as one of the musical trend spread over the first half of the 20th century. This thesis analyzes an opus composed on the basis of atonal notion by myself called "Psalm for soprano and piano". Both the 22nd and the 144th Psalm are annexed to this music and these adopt respectively hatred and gratitude as a subject. The two movements are contrasted with the subject so the music is classifiable by interval, tempo, figure, rhythm. But it lays a relation in a formal aspect. The 22nd Psalm, the former music, is composed laying stress on the Chromatic scale (which emphasizes hatred, melancholy, misery, sadness), augmented 4th, major 2nd and major 7th. And the 144th, the latter one, is composed laying stress on perfect 4th which emphasizes joy, gratitude and praise to God and on whole-tone scale. According to the verse of the Psalm poem, the former music consisted of 4 paragraphs and the latter one consisted of 5 paragraphs in the formal aspect as well. Besides, the diversity of the figure related to the content of the poem is being compiled organically and it leads the complete music. It represents that the biblical aspect and the poetical image of Psalm can be expressed effectively harmonized with the musical expression.