W. A. Mozart, F. Schubert, H. Duparc, G. Charpentier, S. Barber의 성악작품에 대한 연구

Abstract

In this thesis, the vocal works in the Voice Recital program were divided by the composers and the contents of each vocal work, construction of type, and the notice to be taken at the time of playing were studied . Also, the general character of Concert Aria and the general musical character of H. Duparc and S. Barber were explained together. The result of my study of the musical numbers of the Voice Recital is as below. 1. The Concert Aria which started from Solo Cantata originally is also called the performance Aria, and it was composed with the characteristic of the specific singer. The concert Aria, K.217 of Mozart(1756-1791) shows the instrumental musical style of Rondo Aria, and the dramatic factor is stressed. Through the handling of fine scale and variety of speed, this is the work which shows the essence of the beauty Mozart's music and the brightness of the classical age. 2. Four Lieders of Schubert(1797-1828) are the musical numbers which have the love of the woman. They are short melodies, but they have the beauty of melody which flows freely, and especially in "Suleikas zweiter Gesang", the piano part acts the role of accompaniment which adds the effect of singing. 3. In the melodies of Duparc(1848-1933), the piano part can be found which the beat according to the rhythm of poem and the musical atmosphere, the use of freely changed harmony, and according to the procession of melody of song, the piano part has both poetic and colorful importance. The delicate mood of melody which proceeds with the chromatic progression of "Extase", and the gorgeous type of introduction which is repeated seven times in "La Vie anterieure", "Soupir" which forms the downward melody of single 9 degrees on the Octave, "L' Invitation au Voyage" which has the piano part transferring to chromatic-scale constantly are the melodies which have the fantastic beauty of Duparc. 4. The Aria "De puis le jour" out of the opera "Louise" of Charpentier(1860-1956) is the Aris of Louise shown in the 3rd-act. It sings the happiness through the lover and it is the song which has the climax enhanced with exchanging passion, and it has the mind of liberation and thanks. 5. The musical essence of Barber(1910-1981) is based on the lyric character. His melody is the musical number in which the modern harmony and rhythm are mixed on the basis of the up-down romantic music of 19th century. "Sleep now" is characterized by the severe up and down melody and the syncopation rhythm. "Sure on this shining night" is the typical classical work, and is composed of the beauty of the lyric melody repeatedly, and the formal reading is stressed, "Monks and Raisins" is the use of simple changeable intonation-composed musical notes repeatedly, and the formal reading is stressed. "Nuvoletta" is the large-scale sing with the sham voice, the use of appoggiatura and Recitativo and Cadenza. The graduation concert program I examined started from the Concert Aria of the classical age, and composed of the German and French songs in the First part and Opera Aria and the modern songs in the latter part. The arrangement of the composers are chronological and is the program for the professional musical concert including Italian, German French, and English each in the diversification of poem of song.;본 논문에서는 졸업 연주회 프로그램에 있는 성악작품을 작곡가 별로 다섯 그룹으로 나누어 각각의 성악작품에 대한 연구를 하였다. W. A. Mozart의 Concert Aria, K. 217. 은 Rondo Aria라고 하는 기악적인 형식을 보이며, 극적인 요소가 강조되어 있다. 화려한 Sc-ale처리, 속도의 대조 등을 통하여 모짜르트 음악의 아름다움, 밝음을 지닌 고전파시대의 진수를 보여주는 작품이다. F. Schubert의 네 개의 가곡은 모두 연인에 대한 사랑을 담은 가사를 지니며 짧지만 자유롭게 흐르는 선율의 아름다움을 지니고 있다. H. Duparc의 네 개의 가곡은 시의 운율이나 음악적인 분위기에 부합되는 박자, 자유스러운 변화화음의 사용, 그리고 시적이고 색채적인 중요한 역할을 담당하는 피아노부와 함께 반음계적으로 진행하는 환상적인 선율의 아름다움을 지니고 있다. G. Charpentier의 Opera Aria “De puis le jour”는 Opera 「Lou-ise」의 3막에 나오는 루이즈의 Aria이다. 사랑하는 사람을 통해 발견한 행복을 담은 곡이다. S. Barber의 네 개의 가곡은 19세기 낭만적인 음악의 전통 위에 현대적인 화성, 리듬을 융합시킨 곡이다. 이러한 성악작품들에 대한 연구와 함께 Mozart에서는 Concert Aria에 대해서, Duparc, Barber에서는 작곡가의 일반적인 음악의 특정에 대한 연구도 함께 하였다.