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3 이화음악논집 2017 가을 21 집 3 호 이화여자대학교음악연구소

4 Journal of Ewha Music Research Institute Autumn 2017 Volume 21 Number 3 Editor-in-Chief Hyun Kyung Chae Editorial Board Euil Mi Park Jae Sung Park Hye Seung Shin Mi Kyung Lee Sung Ki Cho Yu Siu Wah Chun-Zen HUANG Heather A. Willoughby Alison Tokita Jennifer Ward Judy Tsou

5 이화음악논집 2017 가을 21 집 3 호 편집위원장 채현경이화여자대학교음악연구소장 편집위원 박을미부산대학교박재성한양대학교신혜승이화여자대학교이미경전남대학교조성기공주대학교류쓰와홍콩중문대학교황쥔런국립대만사범대학헤더윌로비이화여자대학교앨리슨토키타교토시립예술대학제니퍼워드 RISM 편집위원및 IAML 웹페이지편집위원쥬디초우워싱턴대학교, JAMS 및 Women and Music 편집위원

6 Journal of Ewha Music Research Institute Autumn 2017 Volume 21 Number 3 Contents Young Kim Theory and Practice of C. P. E. Bach s Improvisational Techniques: Analysis of C. P. E. Bach s Theoretical Books and 18 Fantasies 1 Betty Moon A Study on Contemporary Korean Choral Music Using Arirang Melody 41 Lyudmila Gauk Critical Reading of Musical Nationalism: Based on Writings of Vladimir Stasov and Arthur Lourie 91 Eun-Ha Kim Digital Musicology as a Method 117 [Translation] Anthony Newcomb / trans. Ji-Hye Ahn Courtesans, Muses, or Musicians?: Professional Women Musicians in Sixteenth- Century Italy 139

7 이화음악논집 2017 가을 21 집 3 호 목차 김영 C. P. E. 바흐즉흥연주기법의이론과실제 : 그의시론서와판타지아총 18 곡을중심으로 1 문베티아리랑선율을사용한창작합창곡의전통적요소에관한연구 41 Lyudmila Gauk 러시아비평가스타소프와루리에의러시아민족주의음악에대한비판 91 김은하방법으로서의 디지털음악학 117 [ 번역 ] Anthony Newcomb / 안지혜옮김코르티잔, 뮤즈, 혹은음악가?: 16세기이탈리아의전문직업음악가여성들 139

8 1) C. P. E. 바흐즉흥연주기법의이론과실제 : 그의시론서와판타지아총 18곡을중심으로 김 영 목차 Ⅰ. 들어가면서 Ⅱ. C. P. E. 바흐의 올바른건반악기연주를위한시론서 에제시된즉흥연주기법 Ⅲ. C. P. E. 바흐의판타지아총 18 곡의건반즉흥연주기법분석 1. 론도형식의판타지아 2. 3 부형식의판타지아 3. 론도 - 변주혼합형식의판타지아 4. 일관작곡형식의판타지아 1) 3 절구성 2) 통절구성 Ⅳ. 나가면서참고문헌 Abstract - 논문접수일 (7 월 31 일 ), 심사일 (8 월 30 일 ), 게재확정일 (9 월 15 일 )

9 2 이화음악논집 개요 C. P. E. 바흐는 18세기중엽부터중 북부독일을중심으로활동한작곡가일뿐만아니라유능한건반연주가, 음악이론가, 교육가, 공연기획자등으로다양하게재능을발휘하였으며당대에는부친인 J. S. 바흐보다도영향력있는음악가로서큰명성을날렸다. 특히당시의건반음악연주법과그의음악이념을집대성한두권의저서 올바른건반악기연주를위한시론서 (Versuch über die wahre Art das Clavier zu spielen Ⅰ&Ⅱ, 1753, 1762) 의영향은실로막대하다할수있는데, 이시론서의독자성은무엇보다도제2권의끝을장식하는 즉흥연주기법 부분에있다. 즉흥연주는바로크초기부터당대에이르기까지필수적인연주요소로서음악가로의재능을평가받는매우중요한척도였는데도불구하고, 당대의소위 4대음악논서 로불리던대표적인것들가운데오직 C. P. E. 바흐의시론서가 즉흥연주기법 을별도의소제목으로다루고있다. 뿐만아니라이내용이 지금까지존재한위대한건반음악작곡가이며감정표현에탁월한가장뛰어난연주자 로까지극찬받던 C. P. E. 바흐가자신의즉흥연주기술을그대로전수하고자한목적으로쓴것이기때문에그가치는실로엄청나다고할수있다. 그는이 즉흥연주기법 의실현을판타지아연주와동일시하면서이부분을전적으로 프리판타지아 (der Freien Fantasie) 의즉흥연주기법으로채우고있다. 이러한이유로 C. P. E. 바흐의즉흥연주기법을대표하는판타지아연구는그자체로의미가있지만현재 C. P. E. 바흐판타지아전곡을대상으로한연구는전무한형편인가운데필자의 W. F. 바흐 vs. C. P. E. 바흐의건반판타지아전곡비교분석연구 에서 J. S. 바흐의판타지아전곡과함께두아들의판타지아유형을비교한개괄적인연구가유일하다고할수있다. 따라서본고는 C. P. E. 바흐즉흥연주기법의이론과그실제를심도있게고찰하기위하여그의저서에제시된판타지아의즉흥연주기법을개관한후평생에걸쳐쓴 18곡의판타지아를화음, 선율, 기타즉흥연주기법으로분류하여분석하였고그세부진행도상세히살펴보았다.

10 C. P. E. 바흐즉흥연주기법의이론과실제 3 Ⅰ. 들어가면서 C. P. E. 바흐 (Carl Philipp Emanuel Bach, ) 는 18세기중엽부터중 북부독일지역인베를린과함부르크를중심으로활동한음악가로서 1,000여곡이상의작품을남긴작곡가일뿐만아니라유능한건반연주가, 음악이론가, 교육가, 공연기획자등으로다양하게재능을발휘하며큰명성을날렸다. 당대에는부친인 J. S. 바흐 (Johann Sebastian Bach, ) 보다도영향력있는음악가였음을어렵지않게찾아볼수있다. 1) 특히당시의건반음악연주법과그의음악이념을집대성한두권의저서 올바른건반악기연주를위한시론서 (Versuch über die wahre Art das Clavier zu spielen Ⅰ&Ⅱ, 1753, 1762) 의영향은실로막대하다할수있는데, 예를들어하이든 (Franz Joseph Haydn, ) 은그의저서를모든학파중에학파라칭송하는가하면, C. P. E. 바흐의숭배자였던네페 (Christian Gottlob Neefe, ) 를사사했던베토벤 (Ludwig van Beethoven, ) 도이시론서로교육받았고자신의제자들을가르치는교재로도사용하였다. 2) 이와같은이책의독자성은무엇보다도제2권의끝을장식하는 즉흥연주기법 (Improvisation) 부분에있다. 즉흥연주는바로크초기부터당대에이르기까지필수적인연주요소로서음악가로의재능을평가받는매우중요한, 혹은가장중요할수도있었던척도였는데도불구하고, 3) 당대의소위 4대음악논서 로불리던대표적인것들가운 1) C. Hogwood, A Supplement to C. P. E. Bach s Versuch: E. W. Wolf s Anleitung of 1785, C. P. E. Bach Studies, ed. S. L. Clark (Oxford: Clarendon Press, 1988), ) 김영, C. P. E. 바흐의 6개의변주재현소나타 : 형식과변주기법분석연구, 이화음악논집 19 (2015), 2; Hon-Lun Yang, The fantastic Beethoven and Stylus Phantasticus, 音樂藝術論壇 3 (1994), ) 바로크시대는기악음악의즉흥연주가질적 양적으로팽창하던시기로악곡전체또는일부가즉흥적으로구상되는형태로의연주가성행하였다. 즉, 일정주제를제시하면푸가혹은변주곡등으로진행시켜나가는것이었는데, 따라서연주자의종합적인역량이고스란히드러나는형태였다. 주대창, 즉흥연주, 음악과민족 28 (2004),

11 4 이화음악논집 데오직 C. P. E. 바흐의저서만이 즉흥연주기법 을별도의소제목으로다루고있다. 4) 뿐만아니라이내용이 지금까지존재한위대한건반음악작곡가이며감정표현에탁월한가장뛰어난연주자 로까지극찬받던 C. P. E. 바흐가자신의즉흥연주기술을그대로전수하고자한목적으로쓴것이기때문에그가치는실로엄청나다고할수있다. 5) 그리고 C. P. E. 바흐는이 즉흥연주기법 의실현을판타지아 (Fantasia) 연주와동일시하고있다. 즉이부분은전적으로그가새로운판타지아의전형으로명명한 프리판타지아 (der Freien Fantasie) 의즉흥연주기법으로채워져있고, 실제로필사본과초기출판본에는이소제목자체가 즉흥연주기법 대신그가처음사용한용어로알려져있는 프리판타지아 로되어있다. 6) ; C. P. E. 바흐도그의저서에서 즉흥연주에능한사람은작곡가로의미래가밝다 라고언급하고있다. C. P. E. Bach, Essay on the True Art of Playing Keyboard Instruments, translated & edited by William J. Mitchell (New York, London: W W Norton, 1949), ) 18세기중 후반의중요한 4대음악지침서는 C. P. E. 바흐의저서외에크반츠의 가로플루트연주법시론 (Versuch einer Anweisung die Floẗe traversiere zu spielen, 1752), 레오폴트모차르트 (Leopold Mozart, ) 의 철저한바이올린교습의시론 (Versuch einer Anweisung gru ndlicher Violinschule, 1756), 그리고아그리콜라에의해독일어로번역된토시 (Pier Francesco Tosi, ) 의 이탈리아성악악파 (Italienishche Gesangschule, 1723) 가있다. 크반츠의경우는 카덴차에관하여 (Von den Kadenzen) 라는소제목으로즉흥부분을언급하는정도이다. Urlich Leisinger, Carl Philipp Emanuel Bach, The New Grove Dictionary of Music and Musicians, 2nd ed. (London: Macmillan, 2001), 2, 394; usimg/b/b3/imslp sibley bb text.pdf. [ 접속 ]. 5) 이러한극찬은당시의유명한음악사가로서영국에서건너온버니 (Charles Burney, ) 의증언이다. 최승현, C. P. E. Bach의건반악기즉흥연주에관한소고, 음악연구 10 (1993), ) 프리판타지아 는 1753년그의저서에서처음등장하는용어로알려져있고, 18 Probe-Stücke Sonaten에수록된판타지아 Wq 63.6(c단조, 1753) 가최초의프리판타지아이다. Peter Schleuning, Die Freie Fantasie (Göppingen: Verlag Alfred Kümmerle, 1973), 84.

12 C. P. E. 바흐즉흥연주기법의이론과실제 5 판타지아는가장자유로운건반음악장르라고할수있다. 그러나초기발전단계에서는당대의전형적인음악양식에즉흥연주기술이가미되는정도로진행되어있었다. 16세기말과 17세기초의판타지아에서는 일관모방양식 (Points-of-Imitation) 이지배적이었고, 모방양식이쇠퇴하는 17 세기말과 18세기전반에는다양한형식들에레치타티보등과같은즉흥적뉘앙스가결합된형태가등장한다. 7) 이후 J. S. 바흐의 반음계적판타지아와푸가 (Chromatic Fantasia and Fugue, BWV 903, 1723년이전 ) 에서이질적인양식들이차례로등장하며상대적으로즉흥적뉘앙스가강화되어있는형태를선보이지만 8) 아직독립적인악곡으로취급된것은아니기때문에 9) 즉흥장르로서의본격적인판타지아의발전은 C. P. E. 바흐로부터시작된다고볼수있다. 10) C. P. E. 바흐의판타지아는평생에걸쳐쓴 18곡이현존하므로그가즉흥기법을정리한저서와함께그의즉흥연주실현도심도있게고찰해볼수있다. 11) 그런데현재 C. P. E. 바흐판타지아전곡을대상으로한 7) 초기작곡가들과 J. S. 바흐동시대작곡가들의판타지아는김영, W. F. 바흐 vs. C. P. E. 바흐의건반판타지아전곡비교분석연구, 이화음악논집 20 (2016), 참조. 8) 바로크시대에는한악곡에하나의감정이지배적이어야했지만, 점차하나의작품에다양한특징과감정들을담아야한다는생각으로변화하는데, 이러한새로운음악관이반영되어있는초기의예로도볼수있다. 이러한흐름은마르푸르크 (Friedrich Wilhelm Marpurg, ) 의 쉬프레강변의음악평론 (Der kritische Musikus an der Spree, 1749) 의기사를통해서도나타난다. 키르비 (F. E. Kirby) / 김혜선역, 건반음악의역사, 에서재인용. 9) J. S. 바흐의건반판타지아 (7곡) 중자유즉흥양식에속하는것은두곡 (BWV 903, 944) 인데, 모두 판타지아와푸가 이다. 김영, W. F. 바흐 vs. C. P. E. 바흐의건반판타지아전곡비교분석연구, ) 형제지간인 W. F. 바흐 (Wilhelm Friedemann Bach, ) 의판타지아 (10곡) 도다양한성격의선율과빠르기의대조등으로변화무쌍하지만, 모방적짜임새와변주의틀을유지하고있다는점에서 J. S. 바흐의판타지아를계승하고있다고볼수있다. 김영, W. F. 바흐 vs. C. P. E. 바흐의건반판타지아전곡비교분석연구, ) J. S. 바흐의판타지아가 7곡, W. F. 바흐 10곡, 헤쓸러 (Johann Wilhelm Hässler, ) 5곡, 뢰라인 (Georg Simon Löhlein, ), 볼프 (Ernst Wilhelm Wolf, ) 가각각 1곡씩으로동시대작곡가의건반판타지아분량을고려할

13 6 이화음악논집 연구는전무한형편인가운데필자의 W. F. 바흐 vs. C. P. E. 바흐의건반판타지아전곡비교분석연구 에서 J. S. 바흐의판타지아전곡과함께두아들의판타지아유형을비교한개괄적인연구가유일하다고할수있다. 따라서본고는우선 C. P. E. 바흐의저서에제시된판타지아의즉흥연주기법을고찰해본후판타지아전곡도분석해보겠다. Ⅱ. C. P. E. 바흐 올바른건반악기연주를위한시론서 에제시된즉흥연주기법 전적으로 프리판타지아 의연주법설명으로채워져있는 즉흥연주기법 부분의내용을정리하면다음과같다. < 표 1> 올바른건반악기연주를위한시론서 제 2 권중 프리판타지아 즉흥연주기법요약 소주제 기본적특징 (p.430) 내용 무마디 12) - 보통빠르기 (moderato) 의 4/4 박자가기준 - 음길이는상호관계로결정 빈번한전조 전조의필수조건 (pp ) 악곡의시작과끝은동일한조성유지 근본진행은 5 도권 활용 청중이기억할수있는범위에서의빠른전조 근친조와원거리조로의조화로운전조 이끈음을활용한전조방법숙달 그밖에감 7 화음과그전위활용 전조시종지부여는마지막과중간에한번 규칙적인마디줄부분에서는급격한전조삼가 때 C. P. E. 바흐의판타지아가 18곡이라는점은그자체로도유의미하다. 김영, W. F. 바흐 vs. C. P. E. 바흐의건반판타지아전곡비교분석연구,

14 C. P. E. 바흐즉흥연주기법의이론과실제 7 소주제 내용 화음연주의필수조건 (pp ) 기본음형연주의필수조건 (pp ) 펼침과지속화음형태가기본진행 다양한템포와여러방식으로의펼침 단순하고일정한형태를배제한다양한방식의분산화음형태 대표적인예는구성음이외의이웃음도첨가한형태로할것 ( acciaccature ) 너무빠르게연주하지말것 ( 반음계진행은예외가될수도있음 ) 반음계적진행은깊은감정표현을동반할것 다양한변화추구 : - 진행방향을바꿀것 - 동일한반복피할것 스케일음형의경우 : - 정해진음계안에서진행방향을바꿀것 - 반음계적음을첨가 위의표를통해알수있듯이, C. P. E. 바흐는 프리판타지아 의즉흥성을무엇보다도무마디줄과빈번한전조로본다. 그는그이상적인모델을특별한제약없이자유롭고과감한표현을할수있는기악적레치타티보 (Recitativo) 에서찾게되는데, J. S. 바흐등의예에서한걸음더나아가표현의극대화를위해마디줄을제거한형태를처음으로내놓는다. 그럼으로써이즉흥기법은그가앞장서서유행시킨 다감양식 의가장효과적인표현수단으로도등극하게된다. 13) 무마디줄의연주는새로운시도였기 12) 악보에마디줄이없는형태그자체는이미 17세기의모음곡에서도입부역할을했던 비정량프렐류드 (Prélude non mesuré) 에서도찾아볼수있다. 박자표와마디줄이없고음표와이음줄로만이루어진이러한프렐류드는연주악보의스케치정도로볼수있다. 이주혜, 17세기비정량프렐류드의연주방법및즉흥성에대한고찰, 한국달크로즈저널 21 (2013), ) 독일의다감주의 (Empfindsamerkeit) 는샤프스베리 (Earl of Shaftesbury, ) 의감각숭배, 리처드슨 (Samuel Richardson, ) 의소설 파멜라 (Pamela, 1714) 에서시작된자기고백적경향을지닌예술사조등지성에의한도덕적행동보다직

15 8 이화음악논집 때문에연주자들을위해기본적인템포 ( 보통빠르기, 4/4박자 ) 등에대한정보를제공하고있다. 빈번한전조에대한기법은필수조건으로상세히제시되어있다. 우선적으로조성의확립을위하여악곡의시작과마지막은동일한조성을취할것과 5도권을활용한전조를기본으로하면서어떻게지루하지않도록원거리조를혼합할것인지가그핵심이다. 규칙적인마디줄이있는부분에서는급격한전조를피할것을제시하고있는데, 이를통해그의 프리판타지아 는전체가무마디줄로된악곡만을의미하는것이아님도알수있다. 화음연주에있어서의필수조건도근본적으로는지루하지않도록다변화시키는것을골자로하고있다. 우리의귀는변함없이지속되는패시지, 지속화음 (Sustained Chords), 분산화음에지쳐있다고말하면서, 이들진행을기본으로하여다양한방식으로뻗어나갈것을요구하고있다. 그리고그예로분산화음에서의 acciaccccature 방식 ( 설명은 < 표 1> 참조 ) 과빠르기변화등의연주방식을제시하고있다. 위의도표에서마지막으로제시되어있는즉흥연주에있어서의기본음형역시일정한패턴대신다양성추구를위한 변화 를필수조건으로본다. 접적인정서적반응을더중시하는문학에서비롯된심미적인현상이다. 루소 (Jean Jaques Rousseau, ) 와괴테 (Johann Wolfgang von Goethe, ) 에게도영향을주게되는데, 괴테의 젊은베르테르의슬픔 (Die Leiden des jungen Werthers, 1774) 이문학에서의대표적인예이다. Daniel Heartz and Bruce Alan Brown, Empfindsamerkeit, The New Grove Dictionary of Music and Musicians 8, 음악에서의 Empfindsamerkeit 는음악을감정의언어로간주하며특히당대에주요장르로부상하기시작한기악음악에서의심도있는감수성표현을추구한다. 대표적작곡가인 C. P. E. 바흐는이러한특성을잘나타낼수있는악기인클라비코드를선호하였다 ( 당시는 피아노 가우세해지고있던분위기 ). 키르비 (F. E. Kirby) / 김혜선역, 건반음악의역사 ( 서울 : 도서출판다리, 1997), 183.

16 C. P. E. 바흐즉흥연주기법의이론과실제 9 Ⅲ. C. P. E. 바흐판타지아총 18 곡의건반즉흥연주기법분석 C. P. E. 바흐는시론서제1권이출판된 1753년부터죽는해까지판타지아를작곡하였고, 총 18곡중 1곡 ( 판타지아와푸가, Wq.119.7) 만이서주형태이며나머지는모두독립적인악곡이다. 작품길이는무마디에서 215 마디까지다양한가운데전체가무마디로된곡이 4곡, 일부분만이무마디인경우가 9곡, 전체적으로마디줄을가진악곡이 5곡으로다양하게구성되어있다. 그리고악곡의형식에따라크게론도 (A - B - A' - C - A''), 3부 (A - B - A'), 론도- 변주혼합 (A - B - A' - B' - A''), 일관작곡 ( 세부적으로 3절, 통절 ) 의 4가지유형으로분류된다. 14) 론도형식과 3부형식의판타지아는기존의형식을차용하는전통적방식을따르는것으로보이지만각각 1곡에불과하고, 론도- 변주혼합형식이 2곡, 새롭게등장한일관작곡형식이 14곡으로가장많다. 이제부터 C. P. E. 바흐의판타지아를이네가지형식순으로분석해보겠다. 1. 론도형식의판타지아다음은론도형식의판타지아에서즉흥기법을형식적부분별로정리해본것이다. 기법항목들은그의판타지아전체에서나타나는것들을화음과선율, 그리고기타로나누어분류한것이다. 14) 일관작곡형식은 음악은이 ( 서울 : 세광출판사, 2000), 471 참조. 통작형식으로불리기도한다.

17 10 이화음악논집 < 표 2> 론도형식판타지아에서의즉흥연주기법 작품번호 ( 작곡연도 ) 마디수 15) 61.6 (1785-6) ⅓ 단 형식 ( 템포 ) A (f) B (s) A' (f) C (s) A'' (f) 세부구분 ( 시작마디, 조성 ) 화음즉흥연주기법 펼침 분산 호모포니 토카타식 지속화음 선율즉흥연주기법기타 스케일 반음계 레치타티보 아리아 병진행 a 1(1, C) 1 2 a 2(16, G) 1 2 a 3(29, F) 1 2 a 4(41, C) 1 2 b 1(50, B ) 1 b 2(55, g) 1 b 3(64,...a) 1 a 5(72, a) 1 2 a 6(87, C) a 7(107, D) 1 2 a 8(115, E ) 모방 c 1(125, G) 1 2 c 2(133, G) 1 2 c 3(141, E) 1 c 4(149, A) 2 1 a 9(154, B C G) a 10(176, C) 1 2 코다 (189, G-C) * 위의도표에서 는연속적인전조를의미. *(f), (s) 는곡의빠름과느림을의미. * 박스안에표시된숫자는악곡의흐름에서나타나는순서를의미. * 펼침 : 동일방향의아르페지오 ; 분산 : Broken Chord; 토카타 : 양손으로분할된빠른음형의반복패턴 ; 혼합기법 : 두가지이상의음형결합. 혼합기법 카덴차 15) 도표에서마디수옆의단수는무마디또는무마디들의전체길이를표시한것이다.

18 C. P. E. 바흐즉흥연주기법의이론과실제 11 위의판타지아 Wq.61.6은말기작품이며그의판타지아중가장많은마디수를가진작품이다. 무마디줄은코다에 1⅓단으로만나타나는정도이고, 형식도론도의 5부분에서빠름과느림이교대되는뚜렷한틀을유지하고있다. 각부분을이루는세부적인구성또한즉흥연주의원초적단계인변주기법이지배적이고조성도기본적으로관계조로이동하는가운데, 론도에서보편적으로곡의절정을이루는 C부분에서먼거리조로의갑작스러운전조가눈에띄는정도이다 (G E 등 ). 즉흥연주기법은 리프레인 (Refrain) 에해당하는 A부분들이펼침에서스케일, 또는펼침에서병진행등으로의진행에공통적으로집중되어있고 B부분은아리아, C부분은호모포니적진행으로각각 A부분들과대조를이루며역시형식적틀을뒷받침하고있다. 반면코다는 6가지의다양한기법을망라하는등상대적으로화려한편이다. 그럼이와같은기법들의세부진행들을살펴보겠는데, 그특징들을표로정리하면다음과같다. < 표 3> 론도형식판타지아에서의세부즉흥기법 즉흥연주기법 화음연주 선율연주 기타 세부진행 펼침아치형태, 반복음형태삽입됨, 이웃음삽입 ; 성부이동호모포니장식음이하나또는복합적으로첨가됨 ; 반주식으로첨가됨토카타식두손에서각각 3화음의구성음을상행과하행으로교대지속화음코다끝부분에서한단반에걸쳐왼손에서등장 스케일아리아병진행모방 하행, 규칙적흐름반음계적, 당김음다수상행, 하행 2성부모방 ; 한마디정도의음형모방 혼합기법스케일과병진행, 펼침과병진행또는분산화음, 지속화음과펼침후분산, 지속음과병진행 (1⅓ 무마디진행 )

19 12 이화음악논집 위의세부즉흥진행들은각기법들의변주로서곡전체에걸쳐다양하게나타난다. 즉, 펼침화음은동음반복과이웃음이삽입된형태로이곡에서주요음형으로사용되고, 나머지진행들은이음형들뒤에등장하는데다음은그예들을보여준다. < 악보 1> C. P. E. 바흐판타지아 Wq.61.6, 마디 1-48

20 C. P. E. 바흐즉흥연주기법의이론과실제 13 위의악보에서네마디에걸친주선율의음형을보면, 단일성부의펼침화음 (C-E-G-C) 에 G음이 6차례반복되고있고이사이에이웃음 (A) 이첨가되어있다. 이런선율형태는거의그대로이동반복하고있는반면, 이후뒤따라오는 2성부의병진행음형은재등장시약간씩변주된다. 마디 7의박스로표시된부분에서는스케일하행음형과병진행이혼합된형태로나타나고, 이후 a 2 에서는오른손의진행중 3차례옥타브위로음역이확대되며반진행된다. a 3 와 a 4 에서는하행진행에장식음이첨가되거나펼침과병진행의혼합으로변주되고있다. 이와같이이곡은 1-2성부의단순한변주기법으로이루어져있다 부형식의판타지아 3부형식의판타지아도한곡에불과한데, 형식적부분별로즉흥기법을정리하면다음과같다. 작품번호 ( 작곡연도 ) 마디수 < 표 4> 3 부형식판타지아에서의즉흥연주기법 형식세부구분 ( 템포 ) ( 시작마디, 조성 ) 화음즉흥연주기법 호펼분모침산포니 토카타식 지속화음 선율즉흥연주기법기타 스반케음일계 레치타티보 아병모리진방아행 a 1(1, C) 1 2 a 2(6+, G) 1,4 3 2, A a 3 즉흥 ( ) (s-f-s) (9+, E...) a 4(22, B) b 1(30, E) 1 15⅔단 B b 2(46, E) (m) b 3(67, C) 1 혼합기법 카덴차

21 14 이화음악논집 작품번호 ( 작곡연도 ) 마디수 형식세부구분 ( 템포 ) ( 시작마디, 조성 ) A' (m-sm-sm-sf-s) 화음즉흥연주기법 펼분침산 호모포니 토카타식 지속화음 선율즉흥연주기법기타 스케일 반음계 레치타티보 아리아 병모진방행 a 5(83, 불안정 ) 1 b 4(89, g) 1 a 6(96, 불안정 ) 1 b 5(103, c# f#) 1 a 7(115, g) 1,3 2 4 a 8(120, f...d) 1 a 9(131,...C) 1,3 2 * m 은중간빠르기를의미 (Allegretto, moderato) * + 표시는무마디를포함하고있는긴마디 혼합기법 카덴차 이판타지아는앞의곡보다 ⅓정도마디수가적지만무마디가상대적으로많아곡의연주시간은오히려 2-3분정도더길다. 형식적틀이명확한가운데세부적으로도역시변주가두드러지며템포의변화도있지만, 이곡의경우에는앞곡보다상대적으로새로운점이많다. 첫째로, A와 A' 부분에무마디가 7-8단으로비중있게등장한다. 둘째는 A' 부분에서 a의변주만이아니라 b의변주도혼합되어있는데, 뚜렷한형식적틀을완화시키는역할을하고있다. 셋째로는즉흥연주기법이펼침화음으로시작하는예가역시압도적이기는하지만, 이곡에한해서는이어지는부분에서토카타가크게확대되고상대적으로다양함을보이는혼합기법이많이쓰이고있다. 넷째로는반음계와레치타티보진행이새롭게등장한다 (a₃의뒷부분 ). 다섯째로, 조성도먼거리조로의전조와조성적으로불안정한부분의비중이더크다. 이러한특징들로인해이곡이상대적으로훨씬더즉흥적으로들린다. 세부진행을정리해보면다음과같다.

22 C. P. E. 바흐즉흥연주기법의이론과실제 15 화음연주 선율연주 기타 즉흥연주기법 펼침 분산 토카타식 스케일반음계 < 표 5> 3 부형식판타지아에서의세부진행 세부진행 아치형태, 다양한리듬으로연주속도변화, 2 옥타브이상의넓은음역 짧은아치형태로하행 펼침 / 분산화음음형을양손이교대로나누어연주 (5 단에걸쳐지속 ) 상 하행으로진행방향교대 상행, 반복음포함 레치타티보 동음중심으로낭송조진행, 단순한화음반주 병진행 하행 ( 짧음 ) 모방 2성부모방, 한마디정도의음형모방 혼합기법펼침과스케일 * 진한글씨는이곡에서새롭게나타나는즉흥연주기법이나세부진행적특징을의미. 위의표에서시작을지배하는펼침화음부터살펴보면리듬이상대적으로더다양해지며음역도더넓어진것을알수있는데, 이어지는혼합기법의진행과함께보면다음과같다.

23 16 이화음악논집 < 악보 2> C. P. E. 바흐판타지아 Wq.59.6, 마디 1-6 위의악보를보면마디 1의자연스러운펼침화음적진행이 4차례에걸쳐변주반복되다가마디 5에서급속히하행하는짧은펼침으로대체된후바로본격적인즉흥연주가시작되듯펼침 스케일 펼침으로전개되는혼합적진행이숨가쁘게제시되는데, 이또한짧은토카타식음형 ( 박스로표시된부분 ) 으로바뀐뒤갑작스러운페르마타로중단된다. 이와같이고정된음형없이즉흥기법들이바로바로바뀌며나가는진행은앞곡보다훨씬더즉흥적뉘앙스가강하다. 위의악보끝에서다음변주인 a 2 가관계조인 G장조로 3옥타브이상확장되어등장하는것도볼수있는데, 이후에이어지는다음과같은진행이바로토카타식의진행을적용하여변주를극대화시킨예에속한다.

24 C. P. E. 바흐즉흥연주기법의이론과실제 17 < 악보 3> C. P. E. 바흐판타지아 Wq.59.6, 마디 9 (4-8 째단 ) 위의악보는무마디줄에 Prestissimo 로 5단에걸쳐연속적인토카타식진행을보여주는데, 마디 6의짤막한모티브 (< 악보 2> 에표시된토카타음형참조 ) 가 30배에가깝게반복확장되고있는것이다. < 악보 3> 의마지막부분은 a 3 의시작부분인데, 이경우는한걸음더나아가첫펼침화음부분만이두번등장한후페르마타로갑자기중단된

25 18 이화음악논집 다. 그리고이어지는부분에서새롭게레치타티보가나타나는것을볼수있다. < 악보 4> C. P. E. 바흐판타지아 Wq.59.6, 마디 위의악보를보면, D 음이낭송음처럼지배적으로등장하는것을알수있고, a부분의변주나이어지는즉흥연주성격의부분들과는별개의것임을알수있다. 베이스에서는화음들이한마디단위로지속적으로반음계적상행진행을하면서분위기를고조시키는데, f 와 p, 그리고수많은임시표로인한조성적불안정감도다감양식적분위기창출에일조하고있다. 이와같이이곡은부분적으로변주기법의극대화와함께갑작스럽고이질적인즉흥연주부분도포함하고있다.

26 C. P. E. 바흐즉흥연주기법의이론과실제 론도 - 변주혼합형식의판타지아 론도와변주가혼합된형태의판타지아는두곡으로각부분별즉흥연주기법을정리하면다음과같다. < 표 6> 론도 - 변주혼합형식판타지아에서의즉흥연주기법 작품번호 ( 작곡연도 ) 마디수 61.3 (1785-6) ⅓ 단 67 (1788) 단 형식세부구분 ( 템포 ) ( 시작마디, 조성 ) A (m) B (-) A' (-) B' (-) A (-) A (s-m) 화음즉흥연주기법 펼분침산 호모포니 토카타식 지속화음 선율즉흥연주기법기타 스케일 반음계 레치타티보 아리아 병모진방행 a(1, B F) 2 1 b 1(7, B E B ) b 2(15, g. f...) b 3(22, B ) a (36, F) 2 1 b 4(43, B ) 2, b 5(57, C) b 6(72, B ) b 7(80, C...) b 8(87, B..) a(109, B ) 2 1 a 1(1, f#) 1 2 a 2 즉흥 T (3+,...e) B( ) b 1(5, b..g) 1 2 혼합기법 2, 4, 6 카덴차

27 20 이화음악논집 작품번호 ( 작곡연도 ) 마디수 형식세부구분 ( 템포 ) ( 시작마디, 조성 ) 화음즉흥연주기법 펼분침산 호모포니 토카타식 지속화음 선율즉흥연주기법기타 스케일 b 2(10,..b) 2 1 (s) b 2(13, g) 1 2 A'( ) a 3(15, 불안정 ) 1 (s) a 4(20, e,,.) 2 1 B' (s) b 4(23, b...) 2 1 b 5(25, c) 2 1 b 6(27, g) 1 2 b 7 즉흥T (33, g) 2 1 반음계 레치타티보 아리아 병모진방행 a 5(39, b) 1 2 A'' a 6 즉흥T (s-m-sm-s) (41+, f#,b,c,..f#) 코다 (44, f#) 1 2 * ( ) 부분은전체가마디줄을갖는부분이다. 혼합기법 카덴차 이두곡도앞의두곡과시기적으로가까운말기작품인데, 첫째곡인 Wq.61.3 은앞의곡들보다짧지만, 둘째곡인 Wq.67 의경우는생의마지막해에작곡된판타지아로서연주시간이 (12분이상 ) 가장긴작품이기도하다. 마디수는같은시기작품들과비교해서가장짧지만, 무마디줄의비율이높기때문이다. 두곡모두 5부분의변주로되어있고, 시작진행은펼침대신스케일이나호모포니등이주도하고있다. 첫곡인 Wq.61.3의경우에는템포뿐만아니라세부적으로도 A부분들은거의동일하고 B부분들의변주역시거의유사하게, 그리고관계조안에서반복되고있다는점에서단순한구조를보인다 (b 1 + b 2 + b 2= b₆ + b₇ + b₈). 반면 Wq.67은각

28 C. P. E. 바흐즉흥연주기법의이론과실제 21 부분이역시변주로되어있는가운데 A, B', A'' 의마지막부분에 3-4단정도의토카타적인즉흥연주가삽입되어있고, 마지막변주인 a₆는상대적으로매우크게확장되어있다. 조성도먼거리조의이동이상대적으로많다. 단 3회연타의화음적진행이주요음형으로곡전체에걸쳐나타나는점은전통적인동기사용기법에속한다. 그럼각곡의세부진행을비교해보면서실제악곡도살펴보겠다. 두곡의세부진행을정리하면다음도표와같다. < 표 7> 론도 - 변주혼합형식판타지아에서의세부진행 작품번호 즉흥연주기법세부진행세부진행 화음연주 선율연주 기타 펼침 짧은형태 (4 분음표굴림, 3 화음, 상행 ) 분산 / 3 잇단음표 호모포니 / 토카타식 지속화음 스케일 레치타티보 1마디의단순한왼손진행과장식음적오른손음형 한단정도레치타티보음형과함께왼손에서등장 진행방향교대, 리듬변화 (36 분음표 48 분음표 ) 겹부점리듬, 도약후순차하행음형, 음형의상행동형진행 혼합기법펼침 +α ( 분산화음, 반진행, 스케일 ) 짧은형태 (4 분음표굴림, 왼손의상행 ), 진행방향교대 왼손지속과오른손화음반복교대 양손교대 : 상행, 음역점차적확장 (4-6 단정도 ) / 진행방향교대, 동음추가진행리듬변화 ( 부점, 당김음 ) 펼침 +α( 스케일, 분산화음 ) / 위의표에서와같이, 앞의곡들에서시작진행으로사용되었던펼침화음이여기서는두곡에서모두짧은형태로축소되어있고따라서그독립적

29 22 이화음악논집 인빈도도약화되어보이기는하지만, 사실다른요소들과결합되어있는형태로서의혼합기법으로여전히비중있게나타나고있다. 그다음으로는토카타식의진행은두곡에서한마디와 4-6단으로큰차이를보인다. 스케일의경우두곡모두에서매우중요한역할을하고있는데, 리듬변화를공통적인특징으로하는가운데특히두번째곡인 Wq.67에서는다음과같이초반부터 2도하행모티브와그앞의변주로다양하게등장한다. < 악보 5> C. P. E. 바흐의판타지아 Wq.67, 마디 1-3 셋째단까지 위의악보를보면, 마디 1-2에서 2도하행하는모티브가단순한화음연타형태로 4차례에걸쳐제시된후마디 3부터는마디줄이사라지면서박스로표시된스케일진행들이하행 2도모티브를장식하고있다 ( 각각아치형과동음반복하행스케일 ). 그리고이어지는진행에서는상행으로이

30 C. P. E. 바흐즉흥연주기법의이론과실제 23 동반복 (B-C-D) 한후, 장식음을포함하는아치형스케일이하행2 도모티브앞을장식하고있다. 그리고곧바로이어지는변주에서는당김음진행도등장한다. < 표 7> 에서제시한레치타티보진행의경우는 Wq.61.3 에서만등장하는데길이도짧고단순한형태이다 ( 왼손의지속화음반주위에서겹부점리듬의 4음하행음형이단순히상행으로이동반복한다 ). 16) 끝으로혼합기법은그자체로는새로울것은없지만, 크게확장되는변주 (a₆의부분 ) 에서그대표적인예를볼수있다. < 악보 6> C. P. E. 바흐의판타지아 Wq.67, 마디 42 의 1-5 단 16) ⅔단정도의길이로, 앞서등장한 3부형식의판타지아인 Wq.59.6의레치타티보부분과비교할때상대적으로그비중이낮다 (< 악보 4> 참조 ).

31 24 이화음악논집 위의악보를보면, a₁에서 2도하행모티브앞을장식하고있던한박자정도의스케일이여기서는 4단으로대폭확장되어있고, 역시스케일이주를이루고는있지만펼침과토카타적음형을포함한혼합형태로바뀌어있는것을알수있다. 그리고 2도음형도이곡에서는처음으로등장하는 ff와함께화음으로확장되고스타카토로분리되는등독립적으로나타나고있다. 4. 일관작곡형식의판타지아일관작곡형식은일정한틀없이가장자유롭게연주될수있는형식인데, 세부적인섹션구분여부에따라 3절 (A-B-C) 과통절로나눌수있다. 이두가지중먼저 3절구성의네곡에서나타나는즉흥기법을정리하면아래표와같다.

32 C. P. E. 바흐즉흥연주기법의이론과실제 25 1) 3 절구성 < 표 8> 일관작곡형식중 3 절구성판타지아에서의즉흥연주기법 작품번호형식 ( 작곡연도 ) ( 템포 ) 마디수 63.6 (1753) (23+ 14⅓ 단 ) 58.6 ( ) (36+ 26⅓ 단 ) 58.7 ( ) (29+ 25⅓ 단 ) 59.5 ( ) (28+18 단 ) A (f) B (s) C (f) A (f) B (s) C (f) A (-) B (s) C (m) A (f) B (-) C (f-m) 세부구분 ( 시작마디, 조성 ) 화음즉흥연주기법 펼분침산 호모포니 토카타식 지속화음 선율즉흥연주기법기타 스케일 반음계 레치타티보 아리아 병모진방행 (1, c, A...) 1 (2, E..) 2 1 (23, B...c) (1, E..) (2, a... ) 2 1 (36, c#...e ) 2,8, (1, A, D, b...) , 혼합기법 카덴차 1,3, 7 6 3,7, 9 6 1, b 1(2, B ) 2,4 3 b 2(9,...F) 1 2 b 3(19, 불안정 ) ,6, (29, e, C, a...a) 5,7 2, , (1, F...F#,C) b 1(2, C,) b 2(8,..G) 1 2 b 3(19,...G) (28,...C, F) 1,3, 6, ,4,

33 26 이화음악논집 위의표에서 C. P. E. 바흐의첫판타지아에해당하는 Wq.63.6(1753) 을제외한나머지세곡은후기작품이다. 하지만무마디줄의규모는네곡모두비중있게나타나는데, 곡의시작과마지막인 A와 C부분에집중되어있다. 전체구성은템포변화와함께 A-B-C로확실하게구분되며앞두곡 (Wq.63.6, 58.6) 은내용이전혀중복되지않는완전한일관작곡형식으로되어있는반면, 나머지두곡 (Wq.58.7, 59.5) 은중간부분인 B에서세부적으로는변주적진행을제시하고있다. 조성은여지없이시작과마지막이원조를유지한채빈번한전조가이루어지고있다. 이곡들에서사용된기법들은앞서살펴본경우와는달리등장순서가매우다양하다. 그세부진행을정리하면다음표와같다. < 표 9> 일관작곡형식중 3 절구성판타지아에서의세부진행 세부진행 즉흥연주기법 화음연주 선율연주 펼침짧은굴림짧은펼침과짧은상행굴림왼 오상행, 짧은 3화음짧은분산의분산 / / / 하행 호모포니 토카타식 / 지속화음 스케일 레치타티보 다이나믹대조, 두터운화음군화음반주코드진행, 양손교대 펼침화음의시작화음 음추가, 상행진행방향교대 / 분산화음의양손교대 (2 단 ) / / / 양손교대, 화음반주 prestissimo 분산화음의양손교대 (5단) 펼침화음의일부 규칙적리듬, 하행, 리듬변화, 하행, 진행방향진행방향교대진행방향교대교대 긴음가중심음들의상행 돈꾸밈음식음형, 하행동형진행 /

34 C. P. E. 바흐즉흥연주기법의이론과실제 27 세부진행 즉흥연주기법 기타 아리아 혼합기법 불규칙프레이즈, 표현적 카덴차 / / / 아치형 긴호흡펼침과펼침, 지속음펼침 α( 지속지속음 α( 펼침, 병행 α( 분산, α( 분산, 화음, 스케일등 ) 스케일등 ) 스케일등 ) 스케일등 ) 통주저음 + 선율 ( 중간에 2 번위치 ) 통주저음 + 선율통주저음 + 선율 ( 마지막에위치 ) ( 마지막에위치 ) < 표 9> 의세부즉흥진행을보면, 네곡모두앞서중요기법으로언급했던펼침과호모포니, 스케일, 혼합기법이공통적으로나타나고넓은음역대에서진행방향을바꿔가면서유려하게진행된다. 무마디줄로흐르는 A와 C부분에서는쉼없이흐르는음형들로기교적즉흥성을보이며성부가단순화되어있고, B부분은보통호모포니적인진행으로차별화되어있다. 다음은그전형적인예로 Wq.58.6의시작부분이다. < 악보 7> C. P. E. 바흐의판타지아 Wq.58.6, 마디 42

35 28 이화음악논집 위의악보를보면펼침과분산화음이주를이루며매우즉흥적으로진행하는데, 5옥타브이상의음역을쉼없이상 하행하고있다. 양손을이용하여연주하지만실제성부는단일성부에불과하다. 이와대조를이루는 B부분은 Largo 와함께다음과같이아리아를연상시키는유연한선율을갖고있다. < 악보 8> C. P. E. 바흐의판타지아 Wq.63.6, 마디 2-14 위의악보를보면, 레가토로이어지는선율과이들을장식하는장식음들, f와 p 또는 ff와 p의교대, 천천히순차상행하는감7화음의연속적진행과그마지막에제시된페르마타등이극적효과를연출하는데, 이러한 A부분과의큰대조는그자체로즉흥성을강화시켜주기도한다. C부분은대체로 A와유사한즉흥적기법으로되어있지만, 음악적내용면에서변주가아니기때문에일관작곡형식으로볼수있다. < 표 9> 에서볼수있듯이네곡중세곡에사용될정도로비중이큰기법은카덴차이다. 통주저음과소프라노선율만제시하는카덴차음형이

36 C. P. E. 바흐즉흥연주기법의이론과실제 29 새로운형태로등장하는데, Arpeggio 로연주하라고악보에지시되어있지만연주자의재량에따라즉흥적요소를가미시키는부분으로, 보통곡의마지막에위치한다 (Wq.58.6 제외 ). 다음은두곡의마지막에제시된카덴차를보여준다. < 악보 9> C. P. E. 바흐의판타지아 Wq.58.7 vs 59.5 마지막부분 위의악보를보면각각아치형의스케일, 하행에서상행으로이어지는스케일과병진행이혼합된형태가빠르고화려하게진행된후지속음혹은쉼표에이른다. 이후비슷한길이와진행을가진 Arpeggio 구성의즉흥연주가곡을마무리하고있다. 2) 통절구성 마지막으로통절로된일관작곡형식의 10개악곡을즉흥연주기법별로정리하면다음과같다.

37 30 이화음악논집 < 표 10> 일관작곡중통절구성판타지아에서의즉흥연주기법 작품번호 ( 작곡연도 ) 마디수 ( 무마디비율 ) (1765) 19 조성 D, A, D 화음즉흥연주기법 펼침 호분모산포니 6 1, 3, 5, 7 토카타식 지속화음 선율즉흥연주기법기타 스케일 2, 4 반음계 레치타티보 아리아 병모진방행 (1765) 12 B (1766) 7 d (1770) 14 G (1770) 14 d (1754) (1762) 18 (⅔ 단 ) 무 (5½ 단 ) c 5 D,E,B, g...d 2, 8, (1765) 무 (2 단 ) F (1766) 무 (4 단 ) d (1770) 무 (8½ 단 ) g... 2,5 * 밑줄은 Arpeggio 표시가있는부분이다. 7 1, 2, 4, 6 3, 5, 8, 11 1, 3 1, 3 6, 7, 9, , 4, 6, 8, , 8 혼합기법 8 1, 3, 5, 7, 9 3 4, 6, 7, , 11, 13 카덴차

38 C. P. E. 바흐즉흥연주기법의이론과실제 31 위의표를살펴보면, 짧은통절형식에속하는 10개의악곡중거의모두가 1770년이전에작곡된독립적인작품이다 (Wq.119.7만푸가의서주 ). 그러나최대 19마디로구성된소규모이고, 무마디부분도최대 8단정도에불과하다. 일관작곡형식중 3절구성으로된그의첫판타지아 Wq.63.6 (1753) 을작곡한이후 25년동안 C. P. E. 바흐는이러한짧은통절형식의판타지아만을작곡하였는데, 17) 이것은분명 즉흥연주 교육을위한의도가있어보인다. 한악곡당 2-6개의즉흥연주기법들이다양한순서로녹아있는가운데특히한가지기법이중점적으로시도되어있다. 사용된기법들의세부진행을정리하면다음과같다. < 표 11> 통절형식판타지아에서의세부진행 즉흥연주기법 화음연주 선율연주 기타 펼침 세부진행 짧은굴림 (113.3); 짧은아치형 (117.11); 아치형 (117.14); 상행 (113.3, , ) 하행 (113.3) 분산상행 (112.2); 하행 (112.8) 호모포니 Arpeggio 즉흥연주지시 (119.7, , , 114.7, ) 주제선율 (119.7), 화음진행 (119,7, 117.3, ) 토카타식단음 + 분산형태의양손진행 (114.7) 스케일 진행방향교대 (117.13, ); 상행, 하행 (117.12, 112.2); 다양한리듬 (112.8) 반음계왼손하행 (117.13) 혼합기법펼침 + 스케일이우세 (113.3, , 112,15, ); 스케일 + 병진행,(112.2, ); 스케일 + 분산 (112.8, 119.7) 17) C. P. E. 바흐는 1775년, 그의친구포르켈 (Johann Nikolaus Forkel, ) 에게보내는편지에서 Wq.63.6과같은판타지아를 6-7곡정도더작곡할예정이며작품모음집에함께수록할것을계획하고있다고언급하고있다. Peter Schleuning, Die Freie Fantasie, 234.

39 32 이화음악논집 위의표를보면, 다른형식의악곡에비해사용된기법의수자체가적고, 세부진행역시대부분이앞서선보였던것들이다. 단호모포니섹션중 5개의악곡에서의 Arpeggio 라고지시된화음군이눈에띄는데, 이는화음의단순한펼침이아닌연주자의즉흥연주가가미되는펼침화음을의미하는표시이다. 다음악보는독립적인작품번호의판타지아이지만그의저서에예시곡으로수록된판타지아의전체로 10개악곡의일반적인특징들을그대로담고있다. < 악보 10> C. P. E. 바흐의판타지아 Wq

40 C. P. E. 바흐즉흥연주기법의이론과실제 33 < 악보 10> 은 5½단의짧은악곡안에 C. P. E. 바흐특유의스케일, 펼침, 분산화음, 혼합, 그리고즉흥연주가가미되는 Arpeggio 호모포니화음등의기법들을망라하고있다. 조성역시중간에 B장조에서 g단조로전조될정도로먼거리조를포함하고있다. Ⅳ. 나가면서 탁월한즉흥연주자였던 C. P. E. 바흐의시론서와판타지아총 18곡의분석을통해살펴본 즉흥연주기법 의이론과실제는다음과같다. 그가말하는즉흥연주의이론적핵심은 다양함 과 변화 의추구이며, 이를위해전조 화음 선율 / 음형진행방법의필수조건들이제시되어있고, 특히특별한제약없이자유롭고과감한표현을할수있는레치타티보양식을건반음악에적용해보고자마디줄의생략도기본적인조건중의하나

41 34 이화음악논집 로제시되어있다. 그러나이와같은시론서에서의설명은판타지아연주의윤곽에불과한것이므로, 실제악곡에서어떤식으로진행되었는지를살펴보기위해그의판타지아전곡을세밀하게분석하였다. 우선일차적으로형식에따라 4가지유형 ( 론도, 3절, 론도- 변주, 일관작곡형식 ) 으로분류한다음, 각부분에등장하는즉흥연주기법을다시화음 선율 기타부류에따른총 13가지항목으로정리하고, 세부적으로이항목들이악곡에서어떤식으로진행되는지살펴보았다. 분석의결과는다음과같이요약될수있다. 통절구성으로되어있는일관작곡형식의판타지아는형식적틀에서완전히벗어나있고무마디가비중있게포함되어있는자유로운진행으로이루어져있어 C. P. E. 바흐가설명한 프리판타지아 에가장가깝지만, 이형식의판타지아들은모두그가시론서를출판한중기에작곡된작품들로서자신의이론을실제판타지아에서구현해보고자실험적으로시도해본것들로사료된다. 한악곡당 2-6개의즉흥연주기법들이다양한순서로제시되어있어즉흥적인뉘앙스가매우강하지만, 무엇보다도악곡의규모가 19마디또는무마디줄의 8단정도에불과할정도로짧고연주난이도자체도높지않다. 후기와말기에작곡된판타지아들가운데는규모가큰곡들이많은데, 론도나론도- 변주혼합, 3부형식과결합되어있는판타지아의경우에는무마디줄의비중이줄고다양한변주기법을기반으로하는즉흥연주가대부분이어서그가제시했던이론과는다소거리가있지만대신훨씬높은난이도의즉흥연주기법을포함하고있다. 3부형식으로된 Wq.59.6은변주의극대화 ( 토카타식음형의 30배확장변주 ), 새로운요소삽입 ( 갑작스러운레치타티보등장 ), 형식의완화 (A' 에 A와 B부분이혼합됨 ) 등이즉흥성을보완하고있고, 론도- 변주혼합인 Wq.67 은 3차례삽입된토카타와길이의확장, 먼거리조로의다양한전조등을특징으로한다. 마지막으로 3절로이루어진일관작곡형식으로구성된 4개의판타지아는

42 C. P. E. 바흐즉흥연주기법의이론과실제 35 그대부분이후기작품 (Wq.58.6, 58.7, 59.5) 으로서그의실험적인시도가실제연주악곡으로구현된좋은예로보인다. 무마디줄의비중이큰동시에모두곡의시작과마지막인 A와 C부분에집중되어있어전통적인형식의차용없이도대규모구성의진행을가능하게하였고, 즉흥기법들의등장순서도매우다양하다. 이와같이판타지아를본격적인즉흥장르로정립시키고자한 C. P. E. 바흐의판타지아전곡분석을통해즉흥연주기법의실체에좀더접근할수있었고즉흥대가로서의면모를엿볼수있었다. 주제어 C. P. E. 바흐, 판타지아, 프리판타지아, 즉흥연주, 올바른건반악기연주법 C. P. E. Bach, Fantasia, Free Fantasia, Improvisation, Essay on the True Art of Playing Keyboard Instruments

43 36 이화음악논집 참고문헌 김영 (Kim, Young). C. P. E. 바흐의 6개의변주재현소나타 : 형식과변주기법분석연구. (An Analytical Study of C. P. E. Bach s Sechs Sonaten für Clavier mit veranderten Reprisen: Focussing on Form and Variational Technique). 이화음악논집 (Journal of Ewha Music Research Institute) 19 (2015), W. F. 바흐 vs. C. P. E. 바흐의건반판타지아전곡비교분석연구. (A Comparative Analysis of Fantasias between W. F. Bach & C. P. E. Bach). 이화음악논집 (Journal of Ewha Music Research Institute) 20 (2016), 이주혜 (Lee, Joohye). 17 세기비정량프렐류드의연주방법및즉흥성에대한고찰. (A Study of the Performance and Improvisation of the 17th Century Unmeasered Prelude). 한국달크로즈저널 (Korean Dalcroze Journal) 21 (2013), 주대창 (Ju, Daechang). 즉흥연주. (Improvisation). 음악과민족 (Music and Korea) 28 (2004), 최승현 (Choi, Seunghyun). C. P. E. Bach의건반악기즉흥연주에관한소고. (On the Keyboard Improvisations of Carl Philipp Emanuel Bach). 음악연구 (The Music Research) 10 (1993), Bach, C. P. E. Essay on the True Art of Playing Keyboard Instruments. Translated & Edited by Willian J. Mitchell. New York, London: W. W. Norton, Heartz, Daniel and Bruce Alan Brown. Empfindsamerkeit. The New Grove Dictionary of Music and Musicians, vol.8. Edited by Stanley Sadie. 2nd ed. (London: Macmillan, 2001), Hogwood, C. A Supplement to C. P. E. Bach s Versuch: E. W. Wolf s Anleitung of C. P. E. Bach Studies, ed. S. L. Clark. Oxford: Clarendon Press, Kirby, F. E. / 김혜선역. 건반음악의역사 (A Short History of Keyboard Music). 서울 : 도서출판다리, Leisinger, Urlich. Carl Philipp Emanuel Bach. The New Grove Dictionary of Music and Musicians, vol.2. Edited by Stanley Sadie. 2nd ed. (London: Macmillan, 2001),

44 C. P. E. 바흐즉흥연주기법의이론과실제 37 Micheis, Ulrich / 홍정수 조선우역 음악은이 (dtv-atlas Musik). 서울 : 음악춘추사, BLEY bb text.pdf. [ 접속 ]. 악보출처 : [ 접속 ].

45 38 이화음악논집 Abstract Theory and Practice of C. P. E. Bach s Improvisational Techniques: Analysis of C. P. E. Bach s Theoretical Books and 18 Fantasies Young Kim From the mid-18th century, C. P. E. Bach was characterized not only as a prolific composer in the middle north Germany but also as a prominent keyboard musician, musical theorist, educator, performing director. And he was even more influential than his father, J. S. Bach, in his lifetime. Especially, Versuch über die wahre Art das Clavier zu spielen Ⅰ(1753) and Ⅱ(1762), two theoretical books compiling the technique of the keyboard music and his musical philosophy, was greatly influential, and technique of improvisation written at the end of the second book proves his originality. Although improvisation was an essential element of music performance to distinguish the musician s talent between the early Baroque and his contemporary era, only C. P. E. Bach s theoretical book among the contemporary so-called Four Major Music Theory Books allocated a separate chapter in his book to deal with technique of improvisation. Moreover, the value of his theoretical book is truly remarkable in that, although C. P. E. Bach was already acclaimed as the greatest keyboard composer and the most prominent musician in expressing emotion, he intentionally wrote the theoretical book in order to hand down the technique of improvisation. While C. P. E. Bach equated the realization of technique of improvisation with Fantasia performance, he filled this piece with the improvisatory technique of der Freien Fantasie Only recent Kim s study (2016), Comparative study on W. F. Bach vs.

46 C. P. E. 바흐즉흥연주기법의이론과실제 39 C. P. E. Bach s Entire Keyboard Fantasia, comprehensively compared the entire works of J. S. Bach s Fantasia and the types of his two sons fantasia, but no other existing studies have examined the entire works of C. P. E. Bach s Fantasia, although they agree that it is itself meaningful to study C. P. E. Bach s Fantasia representing his technique of improvisation. Therefore, in order to deeply investigate the theory and practice of the technique of C. P. E. Bach s improvisation, this study comprehensively reviewed the improvisatory technique of fantasia provided in his theoretical book and then this study carefully classified the 18 pieces written during his lifetime into harmony, melody, and other impromptu techniques to delicately analyze details.

47 18) 아리랑선율을사용한창작합창곡의전통적요소에관한연구 * 문베티 목차 Ⅰ. 들어가면서 Ⅱ. 우리민요아리랑 1. 아리랑의역사 2. 아리랑의종류와특징 Ⅲ. 창작합창곡속에사용된아리랑 1. 창작합창곡에나타난전통적요소 2. 창작합창곡연주의실제 Ⅳ. 맺으며 : 현대합창의새로운방향에대한모색참고문헌 Abstract * 이논문은본인의박사논문 아리랑선율을사용한창작합창곡에관한연구- 함태균, 박재열, 허걸재를중심으로 (2017) 를일부수정, 축약한것이다. - 논문접수일 (7월 31일 ), 심사일 (8월 30일 ), 게재확정일 (9월 15일 )

48 42 이화음악논집 개요 아리랑 은우리조상들의삶과애환이담긴서정민요이다. 아리랑은지난오랜세월동안계승, 발전되어오면서지역에따라다양하게변화되어왔으며민중들의삶과밀접한관계를가지고현대인의가슴속에살아숨쉬어왔다. 최근우리문화에대한관심이높아지면서아리랑에대한문학적인연구가활발하게진행되고있지만, 그에비해음악적인연구는아직미미한실정이다. 현재구전되어오는아리랑계통의악곡이약 60종 3,600여곡의방대한양임을감안할때, 이를위한다양하고도지속적인연구가반드시필요하다. 특히현대적인서양음악기보법을사용하는합창음악으로의실질적인적용을위해서는이론적인연구뿐만아니라선율과박자, 빠르기, 시김새등을표현하기위한체계적인연구가수반되어야한다. 본논문은아리랑선율이사용된창작합창곡을중심으로전통적선율이현대합창에서어떻게적용되는지살펴보고, 그에따른효과적인연주방법을제시하고자하였다. 이를위하여선율의토대가되는아리랑의역사 문화적유래와가치, 음악적특징에관한연구를경기, 서도, 동부, 남도, 제주의 5개지역으로나누어살펴보았다. 관련작품의선택을위해서는다양한전통적요소와음악적완성도가높은작품에주목하여함태균의혼성합창곡 예맥아라리, 박재열의여성합창곡 정선아리랑, 허걸재의여성합창곡 미사아리랑 을연구대상으로삼았다. 이세작품을비교 분석한결과, 민요의전통적요소를현대적감각으로표현한다양한시도가발견되었으며, 특히가사와선율, 음계, 장단을응용한리듬, 가창기법등이효과적으로사용되어한국적인색채를만들어낸다는것을알수있었다. 함태균의 예맥아라리 는동부지역의메나리토리선율의시김새를살려작곡되었으며, 민요에서많이쓰이는메기고받는형식과솔로의토속적인선율이곡의짜임새를풍부하게만들었다. 박재열의 정선아리랑 은동부지역의정선아리랑을사용하여계면조에기초한메나리토리음계를토대로민요의긴-자진형식을사용하여느리게시작하였

49 아리랑선율을사용한창작합창곡의전통적요소에관한연구 43 다가빠르게몰아가는곡의구성이돋보이며, 장단을활용한다양한리듬을통하여긴장감과한의정서를극대화시켰다. 허걸재의 미사아리랑 은미사통상문 5개악장에다양한민요의선율과형식을접목하였으며전통악기인북 ( 장구 ) 을사용하여우리고유의장단과리듬을효과적으로표현하였다. 본연구를통하여아리랑선율을사용한한국합창곡이단순히전통선율만사용하는데국한된것이아니라, 다양한어법과현대적기법이융합된새로운음악적표현을합창이라는도구를통하여나타내고있다는것을찾을수있었다. 작곡가별로전통적인것과현대적인것을자연스럽게접목하여자신만의색채를나타내려고하였는데, 목소리의여러가지표현기법들로합창음악의새로운가능성을열고자한점이높이평가된다.

50 44 이화음악논집 Ⅰ. 들어가면서 아리랑은우리나라를대표하는민요로우리조상의삶과애환을담아전승되어왔다. 19세기말한국에서양문물이유입되고 1885년미국인선교사들이찬송가를가르치면서, 우리나라에서양식합창음악이태동하게되었다. 아리랑에대한최초의서양식악보는교육자이자선교사인호머 B. 헐버트 (Homer B. Hulbert, ) 가 1886년 10월 17일미국에있는여동생에게쓴편지에조선아이들이부르는노래를소개하는글과함께그선율을오선지에적어놓은것이다. 1) 헐버트가자신이발행하는영문잡지 조선유기 (The Korean Repository) 에쓴논문에서 아리랑은한국인에게쌀과같은존재다 2) 라고말했을정도로아리랑은민중들의삶과밀접한관계를가지고있었다. 일제강점기이후우리문화의말살정책으로인하여민족문화계승의큰어려움이있었지만아리랑은우리고유의 한 의정서를바탕으로지역적인특색에따라구전되기시작하여오늘날우리민족의정서를대표하는민요로자리잡게되었다. 아리랑이세계에알려지기시작한지 130년이지났지만, 문학적인연구에비하여음악적인연구는턱없이부족한실정이다. 아리랑이다른민요에비하여수집된자료의양은많지만안타깝게도자연스러운전승이단절되어가고있다. 아리랑으로대표될수있는독특한우리문화의특성이전세계에소개, 발전되기위해서는더많은사람들에게불리고이해될수있는체계적인연구가반드시필요하다. 1) KBS 뉴스 129년전최초의아리랑악보발굴 ( ). 공식적인기록은이로부터 10년후인 1896년 The Korean Repository 2월호에실린논문 Korean Vocal Music 이다. 헐버트는그의논문에서한국의고전음악과대중음악을분석하면서서양식음계로채보한 아리랑 을비중있게다루어전세계에아리랑을알렸으며그공헌을인정받아 2015년 10월 7일제1회서울아리랑상수상자로선정되었다. [ 접속 ]. 2) 아시아경제뉴스 한국인보다더아리랑을사랑한헐버트 ( ). [ 접속 ].

51 아리랑선율을사용한창작합창곡의전통적요소에관한연구 년대이후우리나라는급속한경제성장과함께합창음악도괄목할만한성장을이루었다. 최근우리것에대한관심이높아지면서한국작곡가들이활발한활동을펼치고있고그들의음악이연주되고있지만음악에있어서한국적인정체성에대한물음은지속되고있다. 특히현대음악의다른분야에비하여합창음악에대한연구는부족한실정이며, 최근에서야그필요성이높아지고있다. 이에필자는우리의민족정서를대변하는아리랑선율이사용된창작합창곡을연구함으로써전통요소가어떻게서양합창어법으로표현되고있는지알아보고, 더나아가효율적인연주를돕고자하였다. 본논문의목적은창작합창곡에사용된아리랑선율의토리와시김새 3) 연구를통하여전통적인색채를효과적으로표현할수있는가창기법과합창음색을익히는것이다. 민요는지역에따라방언과생활양식이구별되는것처럼그음을구성하고있는음계와꾸밈음등고유한음악어법과특징이다르게나타난다. 특히아리랑은지역의토리에맞는다양한시김새가발달되어있으며합창에서사용될때에도그가창기법에어울리는합창음색을생각하며연주해야그멋을살릴수있다. 지금까지연구된아리랑의선율과한국창작합창곡에관한선행연구를살펴보면크게 아리랑의음악적특징에관한연구, 한국창작합창곡의작곡기법에관한연구, 작곡가별작품경향및분석에관한연구 로나누어볼수있으며, 그결과창작합창곡의선율분석에주제가국한되어있음을알수있었다. 따라서필자는선율분석의한계를넘어아리랑선율을사용한창작합창곡의음계, 시김새, 형식, 장단등의전통적특징등을기초로한연주방법에주안점을두고연구를진행하고자한다. 최근아리랑선율을사용한합창곡이많이작곡되고있지만지역적으로넓은동부 3) 시김새 : 선율을이루는골격음의앞이나뒤에서그음을꾸며주는장식음이나길이가짧은잔가락을뜻하는말. 음악의종류에따라다르게표현되며, 연주자의개성과즉흥성에따라다른표현이가능하고전통음악연주에서필수적인요소이다. 국립국악원국악사전국악용어표준안 [ 접속 ].

52 46 이화음악논집 아리랑선율에편중되어있다. 따라서지역적인안배보다는전통적요소에초점을두고혼성무반주합창곡함태균의 예맥아라리, 여성합창곡박재열의 정선아리랑, 허걸재의 미사아리랑 을분석하여연구의토대로삼았다. 합창곡을분석하는데있어서는전통국악용어를최대한살리되서양음악용어로풀이하여곡해석에도움을주고자하였다. 지휘및연주방법에대해서는실제연주에대한경험을바탕으로전통적요소를효과적으로표현할수있는방법을모색하였다. Ⅱ. 우리민요아리랑 1. 아리랑의역사 아리랑 은우리나라를상징하는대표적인서정민요로역사적으로여러세대를거치면서민중의공동노력으로창조된결과물이다. 지금까지알려진바에의하면아리랑선율은약 60종 3,600여곡에이르며, 해외동포아리랑, 북한의아리랑등에대한다양한연구가진행되고있다. 아리랑 은어원적으로볼때 아리 ( 밝음, 광명 ) 라는고어에서유래했다는설, 삼국사기와삼국유사에기록된전설을기반으로박혁거세의왕비 알영, 밀양의전설인물인 아랑 등에서유래되었다는설이있으나어느시대에어떻게생겨났는지는확실하지않다. 4) 아리랑이문헌에등장한최초의예는조선후기천주교신자였던이승훈이 1785년남긴농부사의후렴구 啞魯聾啞魯聾於戱也...( 아로롱아로롱어희야 ) 에서찾아볼수있다. 또한 1865년경복궁중수때 차라리귀가먹었으면좋겠다 고탄식하며읊조린 아이롱 ( 我耳聾 ) 과 나는님을이별하네 라고부른 아이랑 ( 我離娘 ) 이입에서입으로전해지면서아리랑으로변해전국적인민요로확산되어갔다고전한다. 구전되던아리랑은 4) 송방송, 한겨레음악대사전 ( 도서출판보고사, 2012), 1096.

53 아리랑선율을사용한창작합창곡의전통적요소에관한연구 년당시선교사로활동하던미국인헐버트가쓴논문에서양식기보법으로발표되어전세계에알려지게되었다. 5) < 악보 1> 헐버트아리랑 그후일본제국주의의민족문화말살정책에의해 아리랑 은심각한위기를맞이하였으나 1926년나운규가연출하고주연한무성영화 아리랑 의배경음악으로사용된구조아리랑을편곡한아리랑의멜로디가유명해지면서민족예술운동의일환으로항일비판적 혁명적성격을갖게되었다. 6) 1930년대에는일제강점기의아픔을노래한 독립군아리랑 이나 광복군아리랑 이불리기시작하였으며, 밀양아리랑 이나 진도아리랑 같은신민요아리랑도불리기시작하였다. 이후 1940 년대의아리랑은침체기를맞기도하였으나광복과한국전쟁의혼란기를거쳐민족의노래로깊이뿌리를내렸으며현대에이르기까지그가치를이어가고있다. 7) 5) 서울뉴스와이어 아리랑을세계에알린호머 B. 헐버트 ( ), [ 접속 ]. 6) 김시업외, 근대의노래와아리랑 ( 서울 : 소명출판, 2009), ) 정선아리랑연구소, 아리랑이야기, [ 접속 ].

54 48 이화음악논집 오늘날아리랑은한민족의통합에있어서도한몫을하고있다 년시드니올림픽개회식에서는남 북대표팀이공동입장을하면서함께아리랑을불렀으며, 2002년한국-일본월드컵의응원곡으로쓰이기도하였다. 또한피겨스케이팅선수인김연아는 2011년세계선수권대회에서아리랑선율을주제로편곡한 오마주투코리아 (Homage to Korea) 를배경으로프로그램을펼쳐아리랑의우수성을세계에알렸다. 현재한반도전지역과세계에서다양한아리랑이전승되고있으며, 2012년유네스코인류무형문화유산에 한국의서정민요아리랑 (Arirang, lyrical folk song in the Republic of Korea) 으로등재되었다. 8) 2. 아리랑의종류와특징아리랑은우리나라의대표적인민요 9) 로예로부터구전되어전국각지에널리퍼져있다. 민요의종류는크게일정한지역에서만불리는향토 ( 토속 ) 민요와전문적인소리꾼에의해널리전파된통속민요로나뉘며, 목적에따라일을할때부르는노동요 ( 농업, 어업등 ) 와의식요, 유희요 ( 놀이요 ) 로구분할수있다. 향토민요와통속민요의특징은다음과같다. < 표 1> 향토민요와통속민요 10) 구분향토 ( 토속 ) 민요통속민요 특징 일정한지역에한정되어전승되어향토성이짙고, 민중적인성격을띤곡들이많음. 대중성이강한선율로전국적으로알려져있고, 유절형식의유희와관련된내용이많음. 8) 아리랑, 한국의서정민요, 유네스코한국위원회. [ 접속 ]. 9) 민요 : 예로부터구전되어민중사이에불려오던전통적인노래로, 농업과어업에종사하는사람들이집단으로노동을하거나제례를할때부르기시작하였다. 편집부, 한국민속대사전 ( 서울 : 민족문화사, 1991), ) 편집부, 한국민속대백과사전 - 향토민요, 통속민요 ( 서울 : 국립민속박물관, ), [ 접속 ].

55 아리랑선율을사용한창작합창곡의전통적요소에관한연구 49 우리민요 아리랑 은단순한노래로서보통 아리랑, 아리랑, 아라리오 라는여음 ( 餘音 ) 과지역에따라다른내용으로발전해온두줄의가사로구성된다. 인류보편의다양한주제를담고있는한편, 단순한곡조와사설로여러음악장르에자연스레수용될수있는장점이있다. 11) 각지역마다독특한정서를담은이들아리랑가운데 정선아리랑, 진도아리랑, 밀양아리랑 은우리나라 3대아리랑으로평가되고있다. 1) 경기지역의아리랑경기민요는서울 경기, 충청도일부지역의민요를말하며창부타령이나노랫가락처럼솔선법 ( 솔-라- 도-레- 미 ) 을사용하는것과한강수타령이나베틀가처럼라선법 ( 라-도-레- 미-솔 ) 을사용하는민요가있다. 장단 12) 은굿거리장단이나타령장단또는세마치장단등이많이쓰이고음진행은장3도와단3도진행이많다. 13) < 악보 2> 경기민요의음계 11) 아리랑, 한국의서정민요, 유네스코한국위원회. [ 접속 ]. 12) 장단은 길고짧음 을의미하는말로대부분의국악곡은일정한리듬형에의하여음악이짜여진다. 각장단은단순히리듬꼴만을가르키는것이아니라리듬과템포가결합된총체적개념이며, 정해진리듬꼴도실제연주에서는연주자 ( 고수 ) 의즉흥적인해석에따라자유롭게변주된다. 우리나라의장단은크게정악 ( 영산회상, 가곡, 가사, 시조등 ) 장단과민속악 ( 산조, 판소리, 민요, 잡가등 ) 장단으로나뉜다. 편집부, 한국민속대백과사전. [ 접속 ]. 13) 이성천, 알기쉬운국악개론, ( 서울 : 도서출판풍남, 1995),

56 50 이화음악논집 경기지역의가장대표적인아리랑은경기아리랑 ( 본조아리랑 ) 과구조아리랑이다. 신민요아리랑의효시라고보아도무관한나운규의영화에나오는 경기아리랑 은 1930년대이후많은신민요아리랑이창작되었을때, 음악적본류라는의미로 본조아리랑 으로구별되기시작하였다. 영화 < 아리랑 > 을통해경험된동시적이고집단적인공감대는생이별의현실과노랫말의상징적의미를바탕으로민족의노래로서그성격을획득하게되었다. 14) < 악보 3> 경기 ( 본조 ) 아리랑 15) 조선말기에불리던 구조아리랑 은본조아리랑과장단과토리가같고곡조가약간다를뿐이며, 강원도지역의 긴아라리 가경기지역에전파되어변형된아리랑이다. 인위적으로변이되었다는뜻에서 전통아리랑 과구별된신민요로분류된다. 16) 14) 김시업외, 근대의노래와아리랑, ) e 국악아카데미 - 경기아리랑. [ 접속 ].

57 아리랑선율을사용한창작합창곡의전통적요소에관한연구 51 2) 서도지역의아리랑서도민요는평안도와황해도지역의민요를말하며, 음계는크게 레 로시작하는것과 라 로시작하는것이있다. < 악보 4> 와같이 레-라- 도 를중심으로마치는음에서완전 5도위의음을잘게떨어주는것이특징이다. 도 에서 라 음으로흘러내리는가락이많으며 라 는떨어주고 레 또는 라 음에서종지하는경우가많다. 17) < 악보 4> 서도민요의음계 서도지역의대표적인아리랑으로평안도지역의 긴아리랑, 자진아리랑, 황해도지역의 해주아리랑 이있다. 16) 편집부, 한국민족문화대백과사전 ( 한국정신문화연구원, 1991). [ 접속 ]. 17) 이성천, 알기쉬운국악개론, 177.

58 52 이화음악논집 < 악보 5> 해주아리랑 아리랑이대개그지역성을배경으로하고있지만, 해주아리랑 은해주와관련이없는점이특이점이다. 해주아리랑 은경기민요의영향을받았으며경상도지역의 밀양아리랑 과선율적으로매우가깝다. 장단은경쾌한세마치장단으로이루어져있다. 18) 3) 동부지역의아리랑동부민요는태백산맥동쪽의강원도 함경도 경상도지역의민요를말한다. 음계는 미-솔- 라-도- 레 를중심으로상행할때는 미-라- 도-( 레 ) 의음을사용하고, 하행할때는 라-솔-미 로흘러내리는가락이특징이다. 강원도나함경도의민요는탄식조나애원조가많고경상도의민요는꿋꿋하고씩씩한느낌을준다. 세마치장단이나자진모리장단등비교적빠 18) 김인숙, 해주아리랑, 국립국악원국악사전국악용어표준안, 국악사전 ( 국립국악원, 2014).

59 아리랑선율을사용한창작합창곡의전통적요소에관한연구 53 른장단이많이사용된다. 19) < 악보 6> 동부민요의음계 동부지역의대표적인아리랑은강원도지역의 정선아리랑, 강원도아리랑, 경상도지역의 밀양아리랑 이있다. 정선아리랑 은일명 강원도엮음아리랑 으로 1930년김지연이 조선 6월호에쓴 조선민요아리랑 에최초로기재되어있다. 동부산간지역에서불리던아라리 20) 중강원도긴아라리를촘촘히엮어 엮음아라리 로불리던것이현재처럼알려져전해온다. 21) 정선아리랑 은가장넓은지역에서불리며노랫말은 7-800여개가전해진다. 주로남녀의사랑, 연정, 이별, 신세한탄등을담고있으며, 메기는소리는자유리듬으로촘촘히노랫말을엮어가다가세마치 8장단으로받는다. 22) 아리랑가운데 정선아리랑 이유일하게강원도중요무형문화재제1호로지정되어있다. 19) 이성천, 알기쉬운국악개론, ) 아라리 : 동부지역의대표적인유희요로아리랑의원천이되는노래. 편집부, 한국민속대백과사전. [ 접속 ]. 21) 편집부, 정선아리랑, 한국민속대백과사전. [ 접속 ]. 22) 권오성, 한국의민요와소리를말하다 ( 서울 : 민속원, 2016), 348.

60 54 이화음악논집 < 악보 7> 정선아리랑 23) 강원도영동지방의모내기소리에서유래한 강원도아리랑 은 10/8 박자로채보된 5박의엇모리장단을 4장단에메기고, 4장단으로받는다. 24) 선율은구성음이 미-솔-라- 도-레 로되어있고, 미 나 라 로종지하며 미 는작게떨고 레 에서 도 로꺾는목을쓰는메나리토리로되어있다. 23) e 국악아카데미 - 정선아리랑, [ 접속 ]. 24) 국립국악원, 민요이렇게가르치면제맛이나요 ( 서울 : 국립국악원, 1997),

61 아리랑선율을사용한창작합창곡의전통적요소에관한연구 55 < 악보 8> 강원도아리랑 25) 밀양아리랑 은통속민요로형성되었지만가락에힘과열정이있어, 일제강점기에는광복군의항일운동가또는군가로, 해방이후에는노동자들의운동가로도애창되었다. 25) e 국악아카데미 - 강원도아리랑. [ 접속 ].

62 56 이화음악논집 < 악보 9> 밀양아리랑 26) 장단은세마치장단으로되어있고 8장단을메기면 8장단으로받는다. 경상도지역의음악어법인메나리토리 ( 미-솔 -라-도 -레) 로되어있지만, 현재경기지역창자들에의해많이애창되면서경기음악어법을섞어부르기도한다. 27) 4) 남도지역의아리랑남도민요는전라도지역과충청남도, 경상남도의일부지역을포함하는지방의민요를말한다. 음계는 미-라-도 를중심으로 미 는떠는음, 라 는평으로내는음, 도 는 시 로꺾는음을사용한다. 창법은굵은목을써서극적으로표현하며진양, 중모리, 중중모리, 자진모리장단이흔히사용된다. 28) 26) e국악아카데미-밀양아리랑. [ 접속 ]. 27) 손인애, 해주아리랑, 국립국악원국악사전국악용어표준안, 국악사전 ( 국립국악원, 2014). [ 접속 ].

63 아리랑선율을사용한창작합창곡의전통적요소에관한연구 57 < 악보 10> 남도민요의음계 남도지역의대표적인아리랑인 진도아리랑 은 남도아리랑 과호남지방의향토민요인 산아지타령 의음악적인특성을바탕으로 1930년대에형성된신민요이다. 후렴은 아리아리랑스리스리랑아라리가났네, 아리랑응응응아라리가났네 로받으며세마치또는중모리로연주된다. 29) 선율은구성음이 미-라-( 시 )-도 로되어있고 라 로마치며 미 에서세게떨고, 도 에서 시 로꺾고 레 보다낮은음에서 도 시 로흘러내리는육자배기토리로되어있다. < 악보 11> 진도아리랑 30) 28) 이성천, 알기쉬운국악개론, ) 김영운, 진도아리랑, 국립국악원국악사전국악용어표준안, 국악사전 ( 국립국악원, 2014). [ 접속 ]. 30) e국악아카데미-진도아리랑, [ 접속 ].

64 58 이화음악논집 5) 제주지역의아리랑제주민요는제주도지방의민요를말하며, 음악적으로는제주도에서순수하게발생한민요의요소와육지의영향을받은민요의요소가공존하는것을특징으로꼽을수있다. 제주도에서는전문적인음악인들이부르는통속민요가크게발달하지못한데비하여, 일노래를비롯한토속적인향토민요는많이전승된다. 제주도가화산섬이기때문에밭농사와관련된노래가다양하게발달하였고, 고기잡이소리나해녀들의노래도전승되었다. 제주민요의음악적인특징은다른지역에비하여크게두드러지지않고, 음계구성등은경기민요와비슷한점이많다. 제주민요의선법을정의하기는어려우나전반적으로음계는 솔-라 -도-레- 미 로경토리와비슷하고음의기능에서차이를보인다. 또한음을격하게떨기보다는잔가락의형태로소박하고담담하게부르며음역이좁고낮다. 31) < 악보 12> 제주민요의음계 제주지역의아리랑에는 1936년김두봉편찬의 제주도실기 에게재된 제주아리랑 ( 꽃타령 ) 이있다. 가사는꽃을소재로인생을노래했으며, 민중들을하대하고수탈했던관리를비유하고있다. 후렴에 아리랑아리랑아라리요 를쓰고있으며기방에서부른것으로알려져있다. 32) 섬이라는지역적한계로아리랑의연구가부족한실정이다. 31) 김영운, 제주민요, 국립국악원국악사전국악용어표준안, 국악사전 ( 국립국악원, 2014). [ 접속 ]. 32) 문화콘텐츠닷컴 ( 문화원형백과시대의노래아리랑, 겨레의노래 ), 2004, 한국콘텐츠진흥원. [ 접속 ].

65 아리랑선율을사용한창작합창곡의전통적요소에관한연구 59 Ⅲ. 창작합창곡속에사용된아리랑 1. 창작합창곡에나타난전통적요소 1) 음계아리랑은우리민요의고유한선법과형식, 장단등을기초로한다. 따라서창작합창곡에사용된아리랑의전통적요소의이해를바탕으로실제적인연주에접근할수있다. 민요는지방에따라방언 ( 사투리 ) 과생활풍습이다른것처럼그음을구성하고있는음계와중심음, 시김새, 꾸밈음, 음악양식등이지역마다다르다. 33) 각지방의민요에서그지역성이나타나는음악어법, 고유한음악적특징을토리 34) 라하며, 보통 지역명 + 토리 또는 악곡명 + 토리 로조합하여명명한다. 민요는지역에따라비슷한특징끼리묶어 5개의민요권으로분류하는데 < 그림 1> 과같이경기민요 ( 경토리 ), 서도민요 ( 수심가토리 ), 동부민요 ( 메나리토리 ), 남도민요 ( 육자배기토리 ), 제주민요로나뉜다. 33) 서상범, 국악통론 ( 서울 : 태림출판사, 2002), ) 변미혜외, 국악용어사전 ( 서울 : 민속원, 2012), 91.

66 60 이화음악논집 < 그림 1> 우리나라민요의지역별구분 35) 함태균 ( ) 의 예맥아라리 36) 는그의고향강원도의대표적민요인 정선아리랑, 강원도아리랑, 한오백년 의가사와선율을재구성한변주곡양식의무반주합창곡으로, 메나리토리 5음음계를주로사용하였다. 태백산맥과소백산맥동쪽지역의민요에서사용되는 35) 최은식외, 중학교음악1 ( 서울 : 천재교육출판, 2017), ) 예맥 : 한민족의근간이되는민족. 편집부, 두산세계대백과사전 ( 서울 : 두산동아, 1997). doopedia.co.kr. [ 접속 ]. 이곡에서는강원도의옛말로사용되었으며, 아라리 는아리랑을뜻한다.

67 아리랑선율을사용한창작합창곡의전통적요소에관한연구 61 메나리토리는 미-( 솔 )-라-도-레 로구성되며 미 가최저음이고 라 로마치며 라-솔-미 의하행선율이특징이다. 37) < 악보 13> 의도입부의선율을살펴보면 C( 미 )-E ( 솔 )-F( 라 )-A ( 도 )-B ( 레 ) 의메나리토리음계를사용하였음을살펴볼수있다. < 악보 13> 예맥아라리 의메나리토리음계 ( 마디 1-8) 박재열 ( ) 의 정선아리랑 은그의고향강원도의대표적민요인 정선아리랑 을현대적인기법에전통적인색채를결합하여작곡한여성합창곡으로, 계면조의메나리토리를기본음계로한다. 계면조는선법명으로도쓰이고 애조를띠고슬프게 라는악상기호로도쓰이는용어이다. 38) 메나리토리음계는계면조를기초로하여 라 를중심음으로선율을진행하고구성음이같으나상행음정에 솔 을사용하지않고하행시에흘러내리는특징이있다. 37) 국립국악원국악사전국악용어표준안-메나리토리. [ 접속 ]. 38) 전인평, 국악작곡길잡이 ( 서울 : 현대음악, 2001), 142.

68 62 이화음악논집 < 악보 14> 계면조음계와메나리토리의음계비교 < 악보 15> 의도입부선율을살펴보면 3박자의전통선율을 6/8박자로당겨서연주하기는하지만 C( 미 )-E ( 솔 )-F( 라 )-A ( 도 )-B ( 레 ) 의메나리토리음계를사용하고, F( 라 )-E ( 솔 )-C( 미 ) 로흘러내리는전통적인시김새를마디 5-9에걸쳐합창과피아노반주부분에사용한것을확인할수있다. < 악보 15> 정선아리랑 의메나리토리음계 ( 마디 5-9) 허걸재 (b.1965) 의 미사아리랑 은코리아챔버싱어즈 ( 김동현지휘 ) 의위촉으로작곡된곡으로, 미사양식의 5악장으로구성되었으며북 ( 혹은장구 ) 과피아노반주를사용한합창곡이다. < 키리에 (Kyrie)> 는경기아리랑선율을사용하였으며, < 악보 16> 과같이서양조성의 E 장조로표기된경토리 솔 (B )-라(C)-도(E )-레(F)-미(G) 음계로이루어져있다.

69 아리랑선율을사용한창작합창곡의전통적요소에관한연구 63 < 악보 16> < 키리에 > 의경토리음계 ( 마디 23-26) < 글로리아 (Gloria)> 는씩씩하고경쾌한느낌의밀양아리랑선율과구성진느낌의진도아리랑선율이대조를이루면서곡의중심을이루는악장이다. 음계는밀양아리랑이사용하는 메나리토리 의 라 (C)-도 (E )-레(F)-미(G)-솔(B ) 과진도아리랑의 육자배기토리 의 미 (G)- 솔 (B )-라(C)-시(D)-도(E ) 를혼합하여사용하고있다. < 악보 17> < 글로리아 > 의육자배기토리음계 ( 마디 47-50) 2) 시김새우리민요는각지역의음악적특징과토리에맞는시김새를사용하여노래해야한다. 시김새는전통음악에서필수적인요소로, 선율이나리듬을자연스럽게꾸며주는장식음이나잔가락을말한다. 39) 시김새 39) 서상범, 국악통론, 60.

70 64 이화음악논집 는요성, 퇴성, 추성, 전성, 꺾는목 ( 꺾는소리 ) 등여러가지종류가있는데, 이중요성 ( 떠는소리 ) 은대부분의민요에서사용되는시김새로잘게떨거나굵게떠는두가지가있다. 굵게떠는요성은특히남도민요에서많이사용되며꺾는목또한남도민요에서만사용되는시김새이다. 퇴성은제음보다약간높은음에서제음으로빨리끌어내리는것으로서양음악의앞꾸밈음과비슷하다. 추성은낮은음을위로밀어올리는것으로현악기와관악기에서많이사용된다. 전성은가락이위로올라갈때낮은음을빨리굴리는것으로관악기와현악기에서많이사용된다. 40) 지역별로시김새의특징이두드러진남도, 동부, 서도민요의특징을살펴보면다음과같다. < 악보 18> 각지역의대표적시김새 남도민요서도민요동부민요 남도민요는 미 에서굵게떨고 라 에서평으로소리내며 도 에서 시 로꺾어내는목을사용한다. 서도민요는시작음의 5도위음을잘게떨어주는데목을조였다풀었다하면서콧소리를내는창법을사용한다. 동부민요는하행하는선율에서 라 에서 솔-미 로부드럽게흘러내리는특징이있다. 시김새의효과적인표현을통하여전통적인색채를드러낼수있으며, 함태균의 예맥아라리 에서는첫번째마디에서부터요성, 퇴성등의다양한시김새가사용되었다. 40) 편집부, 한국민속대백과사전 - 시김새. [ 접속 ]

71 아리랑선율을사용한창작합창곡의전통적요소에관한연구 65 < 악보 19> 예맥아라리 의시김새 ( 마디 1-5) 민요에서사용하는시김새를서양성악곡과비교하면요성 ( 떠는소리 ) 은대체로중심음에서음을굵게떨어주는것으로서양의비브라토와비슷하나그방식은지역에따라다르다. 추성 ( 미는소리 ) 은음을밀어끌어올리는것으로서양의포르타멘토의주법과비슷하고, 퇴성 ( 꺾는소리 ) 은소리의끝을끌어내리는것으로음이하행할때꺾어내리는서양의꾸밈음과비슷하다고할수있다. 박재열의 정선아리랑 의시김새는정선아리랑의주선율과기악적인소프라노솔로의데스칸트에서두드러지게발견된다. 합창 정선아리랑 에사용된 서울제정선아리랑 은전문소리꾼이부르는통속민요로시김새와장식적인선율이세심하게표현되어있다. < 악보 20> 을살펴보면 아 의모음을이용한기악적인선율로얹어꾸며주었는데특히소프라노솔로는떨어주는요성을많이사용하였다. 또한끌어내리는추성과꺾는목의다양한시김새를통하여한의정서를극대화하고기악적인요소를모방하는표현방법을강조하였다.

72 66 이화음악논집 < 악보 20> 정선아리랑 의시김새 ( 마디 41-45) 허걸재의 미사아리랑 의 < 글로리아 (Gloria)> 는전통적인육자배기토리의시김새를살려작곡되었으며 < 악보 21> 의마디 8에서는앞꾸밈음을활용한 도-시 의꺾는소리를확인할수있다. < 악보 21> < 글로리아 > 의꺾는소리 ( 마디 6-9) 또한 < 악보 22> 에서는진도아리랑의시김새를살려 G( 미 ) 의요성 ( 떠는소리 ) 을잘표현하고있음을볼수있다. 본래전통적인육자배기토리에서 C( 라 ) 는평으로내는소리이지만긴요성으로꾸며주었다.

73 아리랑선율을사용한창작합창곡의전통적요소에관한연구 67 < 악보 22> < 글로리아 > 의떠는소리 ( 마디 47-49) 3) 형식아리랑은민요의전통적인형식에맞추어부르며그형식에는메기고받는형식과긴-자진형식 ( 한배에따른형식 ), 엮음형식등이있다. 메기고받는형식은주로노동요에서쓰이는형태로한사람이독창으로선창하면여러사람들이후렴으로대답하는형태의곡이다. 함태균의 예맥아라리 는여성과남성, 소프라노솔로와합창이메기고받는변형된형식을사용하였다. 특히부분적으로 정선아리랑 과 강원도아리랑, 한오백년 의민요를차용하여변화를주어곡의단조로움을피하였다. 한오백년 은아리랑의분류는아니지만악곡의한을극대화시키기위하여차용된것으로보인다. 허걸재의 미사아리랑 중 < 아뉴스데이 (Agnus Dei)> 는미사에서사용되던응창방식 (Responsorial) 41) 을민요와접목하여 메기고받는형식 의효과가보다극대화된다. < 악보 23> 은솔로가먼저자유롭게 Agnus Dei 를선창하면서메기면나머지성부가똑같이받는형식으로이루어져있다. 41) 응창 : 독창과합창이서로응답하듯노래하는방식으로미사양식에서유래하였다. 편집부, 두산세계대백과사전. doopedia.co.kr. [ 접속 ].

74 68 이화음악논집 < 악보 23> < 아뉴스데이 > 의메기고받는부분 ( 마디 1-4) 메기는부분의솔로선율은곡이진행될수록변형되고다양해지지만받는부분인합창의세성부는 Agnus Dei 를가사로 F-C-F-A 선율을동일하게받는구조를유지하고있다. 이를통하여음악적으로음계나선율뿐아니라, 형식적인부분에서도민요의요소를차용하였음을확인할수있다. 긴-자진형식은한배 ( 빠르기 ) 에따른형식으로처음에는느리게표현하고나중에는빠르게표현하는형태이며, 엮음형식은처음에는각음을길게노래부르고나중에는가사를촘촘히엮어나가며빠르게부르는형식이다. 박재열의 정선아리랑 은긴-자진형식을차용하였으며특히사설부분은긴사설부분을엮어서노래하는 엮음아라리 의전통을따르고있다. 정선아리랑 은빠르기와박자가자주변화하는데,.=54에서시작하여.=68에서 =92로기준박이 4분음표로빨라지고마지막부분에서.=104로휘몰아가며마치게된다. 이는진양조에서중모리, 자진모리로몰아가는긴-자진형식을모방하였다고볼수있다. 전통적인정선아리랑은후렴-사설-소리, 사설-소리-후렴의구조로노래하는데이러한형식은전통음악에서환두 환입의동일한선

75 아리랑선율을사용한창작합창곡의전통적요소에관한연구 69 율로반복하는환입 ( 도드리 ) 42) 부분에서도찾아볼수있다. 4) 장단우리민요아리랑은일정한장단에맞춰노래하는데장단은길고짧은리듬뿐아니라빠르기도함께나타낼수있다. 판소리나민요등의민속악반주에자주쓰이는장단에는세마치장단, 굿거리장단, 중모리장단, 중중모리장단, 자진모리장단등이있다. < 악보 24> 대표적인민속악장단 42) 환입 : 도로돌아온다는뜻으로우리말로는 도드리 라고부른다. 송나라에서전래된형식으로미후사를변주하는것과곡자체를반복하는두종류가있다. 국립국악원국악사전국악용어표준안-환입. [ 접속 ].

76 70 이화음악논집 민요의반주는가곡이나시조등의정악반주보다잔가락을많이사용하고변형하면서연주하는경향이있다. 주요장단을살펴보면, 세마치장단은주로경쾌한경기민요나서도민요에서흔히쓰이며굿거리장단은 3소박 43) 이 4개로이루어져있다. 중모리장단은중간의속도로연주하는장단으로한장단이 4분음 12박자로이루어져있으며, 중중모리장단은중모리를조금더빠르게연주하는 8분음 12박자의형태이다. 마지막으로자진모리장단은 잦다, 빠르다 라는뜻으로빠르게몰아가는장단을말하며 3소박이 4개가모인 12박이기본장단이다. 이밖에엇모리장단은판소리나산조에서드물게쓰이며 3+2의 5박자가두개가모인 10박장단으로서양의혼합박자의느낌을준다. 44) 함태균의 예맥아라리 는 4/4박자와 3/4박자를번갈아사용하여음악적변화를연출하였다. 주목할점은민요를사용함에있어고유의장단에서변화를꾀했다는것이다. 악곡에차용된 정선아리랑 은 3박계열의민요인데 4/4박자로, 강원도아리랑 의장단은 5박계열인데 3/4박자와 4/4박자로작곡되었다. 이를통하여민요의장단의세 45) 가 43) 소박 : 보통박보다작은단위의박으로정간보다작은단위에서느껴지는박을말한다. 박은 2소박이나 3소박혹은혼소박이모여만들어지며박이모여대박을이룬다. 변미혜외, 국악용어사전, ) 전인평, 국악작곡길잡이,

77 아리랑선율을사용한창작합창곡의전통적요소에관한연구 71 달라지게되었으나합창을하는데보다다양한변화를이끌어낼수있게되었다. 박재열의 정선아리랑 에서나타나는장단은주로 9/8박자의세마치장단과 12/8박자의자진모리장단이며, 뒤로갈수록몰아치는단모리장단의느낌도준다. 전통민요 정선아리랑 의후렴구는한마디를 3박으로 8소절을세마치장단으로부르며, 긴사설부분을자진모리장단으로엮어가다가 정성을말고 부터다시세마치장단으로돌아오는구조로이루어져있다. 이러한전통적인장단은합창의리듬과동형진행하는반주의리듬꼴에서두드러지게나타난다. < 악보 25> 정선아리랑 의반주리듬 ( 마디 62-67) < 악보 25> 의장단을풀어서보면 덩-덕쿵덕-쿵 -덕쿵덕 의자진모리장단을세번째박만앞뒤로변환한것으로, 악센트를사용하여소박을나누어헤미올라리듬을음악적으로강조하고있다. 반복되는후렴구인 아리랑아리랑아라리요 의박자는 9/8박자세마치장단을기준으로 6/8박자, 12/8박자를다양하게사용하였으며그안에서악센트를이 45) 장단의세 : 장구나북으로특정장단을연주할때장단마다강하게연주하는지점을말한다. 장단별로고유한장단의세가있으며노래의말붙임새가달라지면장단의리듬꼴이함께변화되고이에따라장단의세도바뀔수있다. 국립국악원국악사전국악용어표준안-장단의세. [ 접속 ].

78 72 이화음악논집 용하여소박을나눠표현하였다. < 악보 26> 전통정선아리랑의장단 < 세마치장단 > < 자진모리장단 > 허걸재의 미사아리랑 은북을사용하여전통적인장단을더욱효과적으로표현하였으며, < 크레도 (Credo)> 는다양한리듬과변박을사용하여현대적인느낌을주면서도 < 악보 27> 에서볼수있듯이 5/8박자의리듬에서엇모리장단을사용하여 2소박과 3소박의전통적인느낌을잘살리고있다. 하지만본래의엇모리장단이빠른느낌인데비하여 < 크레도 > 는느리게진행되어특유의절룩거리며몰아가는생동감있는북장단의느낌은많이감소하였다. < 악보 27> < 크레도 > 의엇모리장단부분 ( 마디 31-35)

79 아리랑선율을사용한창작합창곡의전통적요소에관한연구 73 < 악보 28> 엇모리장단 2. 창작합창곡연주의실제지금까지아리랑선율을사용한창작합창곡에나타난전통적요소에대해살펴보았다. 이장에서는국악적요소를효과적으로표현할수있는방법을모색하고자한다. 작곡자함태균은창작합창곡을연주할때무엇보다중요한점은 지휘자와소프라노독창자의한국어법의처리능력 이라고말하였다. 46) 작곡자가원하는한국적인정서를표현하기위해서는서양발성에익숙한합창단원들이어떠한합창음색을내야할지에대한결정이우선되어야하며, 지휘자는독창자를결정할때국악전공자를초빙하여연주의효과를배가할수있다. 예맥아라리 의악곡에서두드러지는부분은 아 와허밍등아리랑선율을꾸며주는메나리토리선율이다. 주선율을받쳐주는파트는화성을채워주는느낌으로주제선율에방해가되지않고추임새를넣듯이얹어불러야효과적이다. 성부가나누어지는경우에는파트별인원조정이필요한데, 합창단의숫자에따라 1-2명정도를저음과주선율에추가해주어야음악적으로보다완성된느낌이든다. 또한빠르기와박자가변화하는데유의해야하며다양한악상기호와갑작스러운악상변화를위해지휘에서미리준비해야한다. 합창파트는여성과남성이주선율을주고받으며노래하는부분이많은데, 특히민요의선율을노래할때음색은조금어둡고장중한느낌이들게함과동시에리듬이 46) 김규현, 한국근, 현대합창곡분석 ( 서울 : 도서출판질그릇, 2004), 327.

80 74 이화음악논집 자연스럽게맺어질수있도록해야한다. 또한민요선율을차용한주선율을어떻게표현해야할지에대한아이디어가필요하며, 대위적으로발전하는부분에서는각파트의시작에특별히주의해야한다. 상행할때는 미-라-도-( 레 ) 의음을사용하고, 하행할때흘러내리는전통적인특징을잘생각하며노래해야하며전통시조창의어단성장 ( 語短聲長 ) 47) 의특징을반영하여소리를길게빼고시김새의느낌을살려야연주에큰효과를볼수있다. 정선아리랑 은빠르기와박자가각부분에따라달라지고, 메나리토리의시김새와악상의다양한변화가특징인곡이다. 지휘자는이러한곡의특징에주목하고음악의성격이변하는부분의지휘와악상표현에특히유의해야한다. 한악절이끝나고다음부분을시작할때곡의흐름이끊기지않도록긴장을유지해야하며빠르기가급속하게바뀌는부분의경우에예비박을정확하게주고시작하는것이필수적일것이다. 또한합창음색에대한분명한생각을가지고연습을진행해야한다. 전통적인가악에서들을수있는농현을선율화하여사용하였기때문에화성적으로소리의어울림을생각하기보다는수평적인흐름을강조하는것이음악적으로도움이될것이다. 또한크레셴도와데크레셴도, 악센트등의셈여림기호를섬세하게표현하기위해지휘에서미리준비해야한다. 작곡가는특히여린 p를중심으로곡을진행하고있으며, 곡전체적으로볼때 p-pp-ppp에서 f-ff-fff까지사용하고있기때문에합창의최대셈여림을잘생각하며소리를구성할필요가있다. 미사아리랑 의음정연습을할때는음역의한계에서오는문제점을극복해야한다. 원래작곡되었던혼성4부합창을여성3부로재편성하면서알토음역의폭이아주넓고낮아졌기때문이다. 혼성4부편성과비교해보면보통남성파트중테너선율을알토성부에배치한것을 47) 어단성장 : 전통가악에서쓰이는창법으로말은짧게붙이고소리를길게뽑아노래하는방법이다. 변미혜외, 국악용어사전, 59.

81 아리랑선율을사용한창작합창곡의전통적요소에관한연구 75 확인할수있는데, 여성의음역에서보면발성적으로소리내기힘든음역이된다. 선율이보통여성합창에서최저음으로사용하는 G음아래로내려가는경우에는합창단원의역량안에서흉성을많이쓰거나음역을조정해야할필요가있다. 또한저음이동음으로연속되는부분에서는풍부한배음을내기어려우므로인원수를보강하여야효과적인크레셴도를표현할수있을것이다. 미사아리랑 은겹점음표나당김음, 32분음표등다양한리듬의말붙임새 48) 를사용하고있으며, 가사를붙이는데있어모음과자음의연결이자연스럽게이루어지도록충분히연습해야한다. 같은리듬이반복되는경우에는한파트를다같이읽고순차적으로연습하면연주의효과를높일수있으며, 변박과붙임줄로인한당김음이나타나는곳에서는단어의강세를생각하며노래하면도움이된다. 합창선율의시김새를표현할때는특히사용된민요의특징을살려노래하는것이좋다. 추성 을할때는일단제음을낸다음반음내지온음을천천히끌어내리는연습을하면서합창단의특색에맞는음색을찾을필요가있다. 퇴성 을할때에는처음꾸며주는음에테누토가있는느낌으로누르면서시작하는것이좋으며, 음가가짧을때에는급하게끌어내리고 2박이상일때는그끝박에끌어내리고중간에요성을주면효과적이다. 요성 은짧은음일경우처음부터떨어주고긴음가의경우뒷부분을눌러주면서떠는것이일반적이다. 전통적인음악어법에익숙하지않은서양음악전공자들에게추성, 전성, 퇴성, 요성의느낌을언어적으로설명하는것은어려운일이다. 필자는지휘자로서곡을연습시킬때단원들에게손가락이나손동작으로시김새를표현하면서노래하도록제안하고있는데, 그예는 < 그림 2> 와같다. 실제소리 48) 말붙임새 : 한장단안에노랫말 ( 사설 ) 이붙여져서만들어지는모양새를뜻한다. 주로길고짧은형태가서로조합되는모양이많이나타나며, 장단에따라특징적인형태를지닌다. 변미혜외, 국악용어사전, 45.

82 76 이화음악논집 꾼들의소리를들려주고그것을형상화하면서연습하면더욱효과적인표현이될수있을것이다. 시김새를연주하는방법은정형화되지않았기때문에지휘자와연주자간의소통을통하여음악적아이디어를나누는작업이필요하다. 떠는소리평으로내는소리꺾는소리 < 그림 2> 다양한시김새의표현방법 49) 마지막으로지휘자는합창단에어떠한음색을요구할것인지에대한확신을가지고아리랑선율을극적으로표현할수있는전통적인창법과합창의조화를살리는데유의하여야한다. 우리나라전통성악곡의대부분은독창곡이며민요병창의경우에는창자들끼리부딪히는음색이독특한아름다움을느끼게한다. 하지만서양의기보법과화성으로작곡된합창곡을무조건적으로전통창법을사용해부르면오히려역효과가날수있다. 발성적으로조화를이룬합창사운드를내기위해서는정확한음정과통일된음색이기본이되어야하는데미분음을내야하는시김새를합창단원들이똑같은음정으로소리를내기는현실적으로불가능하기때문이다. 서양의두성을이용한벨칸토발성을기본으로하되낮은음에서조금더흉성을강화하여소리내고시김새의특성을인식하고소리내면합창의브랜딩을깨지않으면서도전통음색에가까운소리를낼수있을것이다. 효율적인리허설을위해서는악보표기상보다구체적이고다양한시김새의기보법이요구되며, 지휘자 49) 민은기외, 중학교음악 1 지도서 ( 서울 : 천재교육출판, 2013), 121.

83 아리랑선율을사용한창작합창곡의전통적요소에관한연구 77 가특별히전통적창법에관심을가지고정확한표현을단원들한테보여줄필요가있다. 특별히곡중솔로가나오는허걸재의 미사아리랑 중 < 아뉴스데이 > 의기보방법을살펴보도록하겠다. < 악보 29> < 아뉴스데이 > 의시김새기보 ( 마디 21-22, 38-39, 40-43) 29a 29b 29c < 악보 29a> 의솔로파트의경우끌어내리거나올려주는다양한시김새가발견되며 < 악보 29b> 에서도같은현상이반복되는데, 가창자에따라더많은추임새를얹어서부를수도있을것이다. 또한 < 악보 29c> 의합창파트에서도음을끌어내리는추성과짧게끌어올려주는꾸밈음이있으나모두요성을연상하게하는 ~~~ 표기로기보되어있어작곡가의의도를충분히반영하기어렵다. 때문에전통선율을사용하는한국창작합창곡이세계에서공용화되기위해서는서양음악기보법체계안에서사용할수있는구체적인부호가연구되어야한다. 실제로옛가객들이사용하던연음표 50) 를보면노래가사옆에여러종류의부호를표시하여음악의표현을돕기도하였으며, 시김새의표현이중 50) 연음표 : 가곡과같은사설에가락의억양, 음높이, 길이, 음악적표현등을표시하는일종의부호보. 가곡원류, 협률대성, 여창가곡록 등에서사용되었으나음높이나길이를표기하지못해지금은사용하지않는다. 편집부, 한국민족문화대백과사전. [ 접속 ].

84 78 이화음악논집 요한전통음악작곡의경우에도 < 표 3> 과같이다양하고체계적인부호를사용하고있음을알수있다. < 표 3> 전통음악에서사용되는시김새부호 51) 부호표뜻 ( 음의끝부분을밀어올리는표 ) 음의끝부분을흘려내리는표 음을흘려내리다가다시올려쳐내리는표又여러번반복하여쿡쿡격하게올려끊어치는표メ요성표라하며본음과한음계윗음을두번굴려내는표 < 숨을쉬는자리를알리는표 지금까지제안한방법들은필자가실제적으로연습하면서부족했던부분을연구한내용으로절대적인답은아니며, 합창단의사정에따라수정, 보완하여연주할수있다. Ⅳ. 맺으며 : 현대합창의새로운방향에대한모색 필자는본논문을통해아리랑의역사와선율적배경에대해알아보았으며, 이를바탕으로아리랑이사용된창작합창곡에서아리랑선율의전통요소가어떻게표현되었는지를살펴보았다. 가장한국적인합창이란어떤것일까? 라는질문으로시작된이번연구를통하여아리랑이우리조상의삶과애환을담아유구한전통과함께계승되었고, 각지역별로다양한특성을가지고발전하고있음을알수있었다. 아리랑선율을사용한창작합창곡은민요의음악적선법에맞는음계와시김새를사용하여각지역의고유한토리의특징을살렸으며형 51) 전인평, 국악작곡길잡이, 16.

85 아리랑선율을사용한창작합창곡의전통적요소에관한연구 79 식과구성에있어서전통적요소를활용하였다. 작곡가별로특히가사와선율, 음계, 장단을응용한리듬, 가창기법등이효과적으로사용되었으며, 전통적인것과현대적인것을자연스럽게접목하여자신만의어법을발전시키고있었다. 작품의고찰을바탕으로보다음악적이고효율적인연주가되기위해서는전통창법과시김새를활용한합창음색과가창기법이요구된다. 합창의브랜딩을유지하면서도전통적인색채를내기위해서는시조창과판소리에서사용하는어단성장 ( 語短聲長 ) 의말붙임새에따라장식음을붙이고저음에서흉성을강조하는것이효과적이다. 특히기악적이고화려한장식음적요소가많이발견되는솔로파트의경우에전통민요나판소리를전공한전문소리꾼을독창자로초빙하여연주하면색다른멋을느낄수있을것이다. 또한합창에서도전통적인색채에어울리는합창음색을만들어내는것에대한연구를지속해야하며, 지휘자이자연주자로서다양한시도를접목해보기를제안한다. 각지역의토리에맞는시김새를살려부를수있도록꾸밈음을강조하여연주해야하되지나치지않아야합창의하모니를유지할수있으며, 손동작등을이용하여보다정확한시김새를표현할수있다. 서양의찬송가가보급되고근대적합창이시작된지 120여년밖에되지않았지만, 우리나라의음악교육은이미많은부분에있어서양음악에편중되어있고, 일상생활에서전통문화는점점설자리를잃고있다. 가장한국적인것이가장세계적인것이라는말이있다. 여러가지인성의표현들이어우러진합창음악의새로운지평을열고, 한국적인합창을계승하고발전시키기위해서는더많은노력과시도가필요할것이다. 최근 아리랑 에관한관심이높아지면서아리랑관련창작합창곡의작곡이예전보다활성화되고 (< 부록 1> 참조 ), 외국인을위한한국가곡 2 ( 한국가곡연구소, 2014) 등영어해설과발음법이추가된아리랑전문합창곡도출판되었다. 또한국립합창단주최아리랑합

86 80 이화음악논집 창대회 < 아리랑을노래하라 >, < 대한민국아리랑대축제 > 등에서다양한창작합창곡들이발표되고연주되고있는것은고무적인일이나단순히선율만을차용한합창곡은지양되어야할것이다. 특히전통적인시김새와창법을현대적인합창에서어떻게적용시킬것인가에대한체계적인연구가요구되며보다다양한작곡기법도발전되어야한다. 또한지휘자와연주자는전통요소의이해를바탕으로다양한합창음색을발전시킴과동시에지휘법, 시김새표현등의연주방법에대한훈련을지속하고, 우리문화에대한관심과지식을쌓기위해노력해야한다. 연주자들이합창음악의특성을살려가면서한국적인효과와울림을어떻게표현할수있는지에대한연주자적관점에서의표현기법에대한국악교육도필요하다. 이에대한필수적인요소로우리나라의전통적인시김새와선율적특성을세계에서공용화될수있도록표기하는기보법에대한연구도수반되어야할것이다. 이번연구를통하여더욱한국적이고체계적인합창곡이연주되고, 세계에우리음악의우수성을널리알릴수있게되기를기대해본다. 주제어아리랑, 민요, 창작합창곡, 토리, 시김새, 장단, 함태균, 박재열, 허걸재 Arirang, Korean Folk Song, Contemporary Choral Music, Tori(Scale), Sigimsae(ornament), Jangdan(Beat), Tae-Kyun Ham, Jae-Yeol Park, Cool-Jae Huh

87 아리랑선율을사용한창작합창곡의전통적요소에관한연구 81 참고문헌 - 악보 (Scores) 김동현 (Kim, Donghyun). 21 세기여성합창곡집 (21st Century Women Choral Music Collection). 서울 : 중앙아트 (Seoul: Joongang Art), 박정선 (Park, Jungsun) 외. 지휘자들의선곡을위한종합합창곡집 3 (Choral Music Collection for Conductor s Selection 3). 서울 : 동진음악출판사 (Seoul: Dongjin Music), 허걸재 (Huh, Cooljae). 풍류공간 2. 미사아리랑 (Space for Taste of Arts 2. Missa Arirang). 서울 : 예솔 (Seoul: Yesol), 미사아리랑 SSA (Missa Arirang SSA), 미출판 (Unpublished) 단행본 (Books) 강등학 (Kang, Deunghak). 아리랑의존재양상과국면의이해 (Understanding the Modalities of Being and the Conditions of Arirang). 서울 : 민속원 (Seoul: Minsokwon), 국립국악원 (National Gugak Center). 민요이렇게가르치면제맛이나요 (Best Way to Teach Folk Songs). 서울 : 국립국악원 (Seoul: National Gugak Center), 국악교육체계화연구- 가창 (Research on Systemizing Gugak Education -Vocal). 서울 : 국립국악원 (Seoul: National Gugak Center), 권오성 (Kwon, Ohseong). 한국의민요와소리를말하다 (Speaking of Korean Folk Songs and Sori). 서울 : 민속원 (Seoul: Minsokwon), 김규현 (Kim, Gyuhyun). 한국근, 현대합창곡분석 (Analysis on Korean Modern Choral Works). 서울 : 질그릇 (Seoul: Jilgeureut), 한국교회음악작곡가의세계 (The World of Korean Church Music Composers). 서울 : 예솔 (Seoul: Yesol), 김시업 (Kim, Shieob) 외. 근대의노래와아리랑 (Modern Songs and Arirang). 서울 : 소명출판 (Seoul: Somyung), 민은기 (Min, Eungi) 외. 중학교음악1 지도서 (A Guide for Middle School Music 1). 서울 : 천재교육출판 (Seoul: Chunjae Education), 2013.

88 82 이화음악논집 서상범 (Seo, Sangbeom). 국악통론 (An Outline of Gugak). 서울 : 태림출판사 (Seoul: Taerim), 이성천 (Lee, Seongcheon) 외. 알기쉬운국악개론 (Easy Outline of Gugak). 서울 : 도서출판풍남 (Seoul: Poongnam), 전인평 (Jeon, Inpyeong). 국악작곡길잡이 (Guide to Gugak Composition). 서울 : 현대음악 (Seoul: Hyundae Music), 최은식 (Choi, Eunshik) 외. 중학교음악 1, 2 (Middle School Music 1, 2). 서울 : 천재교육출판 (Chunjae Education), 사전 (Dictionaries) 변미혜 (Byun, Mihae) 외. 국악용어사전 (Gugak Terminology Dictionary). 서울 : 민속원 (Seoul: Minsokwon), 송방송 (Song, Bangsong). 한겨레음악대사전 (An Encyclopedia of Korean Music). 서울 : 도서출판보고사 (Seoul: Bogosa), 편집부 (Editorial). 두산세계대백과사전 (Doosan World Encyclopedia). 서울 : 두산동아 (Seoul: Doosan Donga), doopedia.co.kr. 편집부 (Editorial). 한국민속대사전 (Unabridged Dictionary of Korean Folklore). 서울 : 민족문화사 (Seoul: Minjok Munhwasa), 편집부 (Editorial). 한국민족문화대백과사전 (Encyclopedia of Korean Culture). 한국정신문화연구원 (The Academy of Korean Studies), 편집부 (Editorial). 한국민속대백과사전 (An Encyclopedia of Korean Folklore). 서울 : 국립민속박물관 (Seoul: National Folk Museum), 학술논문 Kim, Eun-sil( 김은실 ). A Study of Arirang and its Influence on Contemporary Korean Choral Works. Ph.D. Diss., University of Southern California, 김재희 (Kim, Jaehee). 함태균혼성합창곡분석연구 : < 예맥아라리 > 중심으로 (An Analytical Study on <Yemaek Arari> for mixed choir by Taegyun Ham). 전북대학교석사학위논문 (Jeonbuk University Graduate School of Education), 2003.

89 아리랑선율을사용한창작합창곡의전통적요소에관한연구 83 김혜정 (Kim, Haejung). 음악학적관점에서본아리랑의가치와연구의지향 (Arirang s Values and Research Orientation from a Musical Perspective). 한국민요학 (The Society of Korean Folk Song) 39 (2013), 민인기 (Min, Ingi). 한국합창음악에나타난국악적요소에관한연구 : 나인용, 박정선그리고이건용의합창작품을중심으로 (A Study on Korean Traditional Music Elements articulated in Korean Choral Music: Focused on the Choral Works by Inyong Na, Jungsun Park, and Geonyong Lee). 음악이론연구 (Journal of Music and Theory), 18 (2012), 박선희 (Park, Sunhee). 합창지휘를위한합창곡해석석 박사학위논문의연구동향분석 : (An Analysis of Study Trends of Theses for Master s and Doctorate Degrees for the Interpretation of Choral in Chorus Conducting ( )). 성신여자대학교석사학위논문 (Sungshin Women s University Graduate School of Education), 안순희 (An, Soonhee). 한국민속음악을소재로한합창음악에나타난한국작곡가의기법분석연구 (An Analytical Study on the Techniques of Korean Composers in Choral Music Based on Korean Folk Music). 연세대학교대학원석사학위논문 (Yeonsei University Graduate School of Education), 유대안 (Yu, Daean). 1896년헐버트채보 < 아라릉 > 과플레처채록 < 아라랑 > 의실상과음악양상 (The Fact and Music Aspects of Score Transferred by H. Hulbert and Music Recorded by A. Fletcher in 1896). 韓國民謠學 (The Korean Folk Song), 44 (2015), 이범명 (Lee, Bummyung). 허걸재의 미사아리랑 분석연구 (An Analytic Study on Cool-Jae HUH s Missa Arirang). 수원대학교대학원석사학위논문 (Suwon University Graduate School), Son, Dong-Hyun( 손동현 ). A Study of Missa Arirang by Cool-Jae Huh: Elements of Korean Traditional Folk Music. Ph.D. Diss., University of Kansas, 신형철 (Shin, Hyungchul). 합창음악에의한한국적인작곡기법연구 : 해방이후현대에이르기까지 (A Study on Korean Composition Technique in Choral Music: from Liberation to Modern). 중앙대학교석사학위논문 (Joongang University Graduate School of Education), 1998.

90 84 이화음악논집 전경욱 (Jeon, Kyungwook). 아라리구음의보편성과한국적독자성 (The Universality and Korean Identity of the Arari). 비교한국학 (Comparative Korean Studies), 20 (2012), 최영낙 (Choi, Youngnak). 한국합창음악에미친민요의영향 : 연주된곡들을중심으로 (The Influence of Folk Songs on Korean Choral Music: Based on the Performed Songs). 단국대학교대학원석사학위논문 (Dankook University Graduate School), 허걸재 (Huh, Cooljae). 한국적합창음악창작에관한연구 (Study on Korean Choral Composition). 서울대학교대학원석사학위논문 (Seoul National University Graduate School), 음반 예맥아라리 (Yemek Arari). 韓國歌曲 2집 (Korean Art Songs 2). 안산시립합창단 (Ansan City Choir) / 박신화지휘 (Conductor: Park, Shinhwa). 서울 : ISMM(Seoul: ISMM), 정선아리랑 (Jeongseon Arirang). 고향의봄 ( 가곡 동요 민요 ) (Spring in My Hometown: Art Songs Children Songs Folk Songs). 선명회어린이합창단 (World Vision Korea Children s Choir) / 윤학원지휘 (Conductor: Yoon, Hakwon). 서울 : 2001(Seoul: 2001). 미사아리랑 (Missa Arirang). 코리아챔버싱어즈 (Korea Chamber Singers) / 김동현지휘 (Conductor: Kim, Donghyun), 김용화소리 (Voice: Kim, Yonghwa), 김인영북 (Drum: Kim, Inyoung). 서울 : Interkulture Korea (Seoul: Interkulture Korea), 인터넷자료 (Internet Sources) 국립국악원국악사전 : 국악용어표준안 (National Gugak Center Gugak Dictionary: Gugak Terminology Standard). [ 접속 ]. 국립국악원 e국악아카데미 (National Gugak Center egugak Academy). [ 접속 ]. 문화콘텐츠닷컴문화원형백과시대의노래아리랑, 겨레의노래 (Culture Contents Dot Com, Culture Encyclopedia and the Song of the Era Arirang, Song of the People), 한국콘텐츠진흥원 (Korea Creative Content Agency). [ 접속 ].

91 아리랑선율을사용한창작합창곡의전통적요소에관한연구 85 서울뉴스와이어 (Seoul Newswire). [ 접속.] 아리랑 (Arirang), 한국의서정민요- 유네스코인류무형문화유산 (Korea s Lyrical Folk Song- UNESCO Intangible Cultural Heritage of Humanity), 유네스코한국위원회 (Korean National Commission for UNESCO). [ 접속 ]. 아시아경제뉴스 (The Asia Business Daily News). [ 접속 ]. 정선아리랑연구소 (Jeongseon Arirang Research Institute). 아리랑이야기 (Arirang Story). [ 접속 ]. KBS 뉴스 (KBS News). [ 접속 ].

92 86 이화음악논집 Abstract A Study on Contemporary Korean Choral Music Using Arirang Melody Betty Moon Arirang, a lyrical Korean folk song, includes the life, joy, and sorrow of Korean ancestors. Arirang has been variously inherited and developed according to its region. Accordingly, musical features such as scale, melody, sigimsae(ornament), jangdan(beat), form, singing method are different from region. As missionary Homer B. Hulbert has mentioned in his article in titled Arirang is like rice to the Koreans, Arirang has been closely related to the life of Koreans and still lives in the hearts of the modern people. As Korean culture is recently gaining more attention, literary studies on Arirang are proceeding briskly, whereas only a few musical researches have been done. Currently, about 60 types and 3,600 songs in the system of Arirang has been handed down orally. Considering the vast amount of songs, various ways of studies are essential. Especially, theoretical study as well as systematic research to articulate melody, beat, tempo, and sigimsae is needed in order to develop Arirang as a choral music that uses the western music notation. This study holds up some of the contemporary choral works, which uses the Arirang melody, as an example to take a look at how traditional melodies can be applied to contemporary choral music and find an effective way for the performance. To see the basis of Arirang, the study looks into the historical and cultural origin, value, and musical characteristics of Arirang divided into 5 tori (feature of each region), including Gyeonggi, Seodo,

93 아리랑선율을사용한창작합창곡의전통적요소에관한연구 87 Dongbu, Namdo, and Jeju. To select the related works, Korean musical elements were considered preferentially. In addition, these works were selected due to its various musical attempts and high quality. The comparative analysis concentrates on Yemaek Arari for a mixed, a cappella chorus by Tae-Kyun Ham, Jeongseon Arirang by Jae-Yeol Park, and Missa Arirang by Cool-Jae Huh for women s chorus. As a result, there were diverse attempts to express the traditional music elements of the folk songs in modern styles. In particular, lyrics, melodies, scales, rhythms have been applied with jangdan beats, and vocal techniques were effectively used to produce a Korean color. Through this study, it was found that Korean choral works using Arirang melody express a new musical element which combines various modern techniques based on Korean language by using chorus as a tool instead of merely using a traditional melody. It is highly appreciated that composers have expressed their own colors by naturally combining traditional element and modern one each other, and presented new possibilities of choral music with various expressional techniques of voices. In order to improve contemporary Korean choral music, research on notation must be involved to interpret the traditional technique into a modern style. In addition, basic education on Korean traditional music should be more emphasized. In particular, conductors and performers should develop a choral sound based on understanding the traditional elements, train continuously on the conducting technique and sigimsae expression for the performance, and put efforts to pay more attention to the Korean culture and gain knowledge as well.

94 88 이화음악논집 < 부록 1> 아리랑선율을사용한창작합창곡 작곡가제목편성책명 ( 출판사 ) 권순호아리미사혼성아리미사 ( 빛나라 ) 김규환밀양아리랑혼성김규환합창곡집 7 ( 음악춘추 ) 김규환정선아리랑혼성김규환합창곡집 7 ( 음악춘추 ) 작곡가가나다순 김동진신아리랑여성소년소녀합창교육대전집 ( 화인미디어 ) 김영경신아리랑여성합창속으로 ( 비앤비출판사 ) 김지영진도아리랑혼성 김지영의합창모음 / 제 10 회세계합창심포지엄 ( 빛나라 ) 김희조밀양아리랑혼성한국민요합창곡집 ( 세광출판사 ) 김희조팔도민요 - 아리랑혼성팔도민요 ( 예솔 ) 박범훈아리랑환상곡혼성아리랑환상곡 ( 음악춘추사 ) 박정선 Missa Brevis 아리랑 혼성미사브레비스아리랑 ( 빛나라 ) 신상우아리랑혼성항해 - 신상우합창곡집 ( 중앙아트 ) 안현순아리랑 ( 소리와합창 ) 우효원아리랑여성 혼성안현순합창곡집만남 ( 중앙아트 ) 여성과어린이를위한합창 11 집 ( 코러스센터 ) 이건용 Arirang 혼성이건용합창곡시리즈 ( 중앙아트 ) 이기경아리랑판타지여성여성합창곡 4 ( 중앙아트 ) 이영조아리랑고개위의들장미 여성여성합창곡 3 ( 중앙아트 ) 진규영아리랑혼성외국인을위한한국가곡 2 ( 국학자료원 ) 진정우아리아리랑여성 21 세기여성합창곡집 ( 중앙아트 ) 채동선서울아리랑혼성외국인을위한한국가곡 2 ( 국학자료원 ) 홍정표아리랑미사혼성아리랑미사 ( 빛나라 )

95 아리랑선율을사용한창작합창곡의전통적요소에관한연구 89 < 부록 2> 합창곡해설에필요한전통음악용어해설 출처 1. 민속원 국악용어사전 ( 변미혜외 ), 이하 ( 민 ) 2. 국립국악원국악사전 국악용어표준안, 이하 ( 국 ) 3. 국립민속박물관 한국민속대백과사전, 이하 ( 한 ) 용어주제해설출처 계면조 음계 선법의하나로평조에대비되는용어이며, 라 - 도 - 레 - 미 - 솔 의 5 음음계로이루어져있음. 민요에서는슬픈곡조를뜻하기도함. ( 국 ) 토리음계각지방의민요에서나타나는고유한음악어법. ( 민 ) 세박자 소박박자 시김새부호 통속민요악곡 향토민요 ( 토속민요 ) 악곡 장구나북으로특정장단을연주할때장단마다강하게연주하는지점을뜻함. 보통박보다작은단위의박으로정간보다작은단위에서느껴지는박. 선율을이루는골격음의앞이나뒤에서그음을꾸며주는장식음이나길이가짧은잔가락을뜻하는말. 지역에국한되지않고전문가들에의해불리는민요로근래에향토민요보다세련됨. 일정한지역에서만불리는민요로발생시기가오래되고서정적이며소박함. ( 국 ) ( 민 ) ( 국 ) ( 한 ) ( 한 ) 요성꾸밈음대체로중심음에서음을굵게떨어주는것. ( 국 ) 추성 퇴성 꾸밈음 꾸밈음 어단성장창법 긴 - 자진형식 메기고받는형식 형식 음을밀어약 2 도높은음을내거나농현을한다음줄을밀어소리내는연주기법. 퇴성 ( 꺾는소리 ) 은소리의끝을끌어내리는것으로음이하행할때꺾어내리는서양의꾸밈음과비슷함. 전통가악에서쓰이는창법으로말은짧게붙이고소리를길게뽑아노래하는방법. 한배 ( 빠르기 ) 에따른형식으로처음에는느리게표현하고나중에는빠르게표현하는형태. 형식주로노동요에서쓰이는형태로한사람이독창으로선창하면여러사람들이후렴으로대답하는형태. 주제별가나다순 ( 한 ) ( 국 ) ( 민 ) ( 국 ) ( 국 )

96 90 이화음악논집 용어주제해설출처 엮음형식형식 환두환입 ( 도드리 ) 중모리 엇모리 형식 장단 장단 자진모리장단 처음에는각음을길게노래부르고나중에는가사를촘촘히엮어나가며빠르게부르는형태. 도로돌아온다는뜻으로미후사를변주하는것과곡자체를반복하는두종류가있음. 중간속도로몰아가는장단이라는뜻으로 12 박을한주기로삼으며첫번째박과 9 번째박에세가있음. 엇갈려나아가며몰아가는장단이라는뜻으로매우빠른 3 박자와 2 박자가섞여 10 박자로이루어지는리듬. 자주몰아가는장단이라는뜻으로 3 분박 4 박자로이루어져있고급하게몰아가는리듬. ( 국 ) ( 국 ) ( 민 ) ( 국 ) ( 국 )

97 52) Musical Nationalism in Russians View: Based on Vladimir Stasov s and Arthur Lourie s Writings Lyudmila Gauk 목차 Ⅰ. Introduction Ⅱ. What is Nationalism Ⅲ. Perspective of Vladimir Stasov( ) on Identity of Russian Music Ⅳ. Music and Cultural Ideas during Silver Age Ⅴ. Perspective of Arthur Lourie( ) on Identity of Russian Music 1. Deny who you are, not for Russia, but for You 2. Elaboration. Disunity and Subordination Ⅵ. Conclusion Bibliography Abstract - 논문접수일 (7 월 31 일 ), 심사일 (8 월 30 일 ), 게재확정일 (9 월 15 일 )

98 92 이화음악논집 Ⅰ. Introduction Russian music is naturally associated with the names of the prominent compositors such as Mikhail Glinka( ), Peter Tchaikovsky( ), Igor Stravinsky( ) and many others thanks to whom the Western World had been able to learn about music culture of Russia. It is one of the reasons why the Western musicology considers music works of these composers as a reflection of the Russian national identity. The matter was undoubted until the separated representatives of the Russian musicology have introduced contrary views on the Russian music in terms of the national identity. I have intentionally specified the definition separated representatives in italics because the Russian musicology at the time of the mid-19th century was the time of forming its national music school in Russia, which in its infancy and therefore could be hardly thought of as a field of knowledge having as its object the investigation of the art on music as physical, psychological, aesthetic, and the cultural phenomenon. 1) The story of the issue of the national music identity begins with the first Russian national group The Mighty Five having appeared on the musical stage. Vladimir Stasov( ), thanks to whom the group found its name, 2) sounded his view on the issue of nationality in music. He stated that the truly national music is a music that deeply bonds with the national 1) Vincent Duckles and Jann Pasler, Musicology, Grove Music Online (Oxford University Press). [accessed October 11, 2017]. Original Report, 1954, Journal of American Musicological Society 8/2(1955), ) The Mighty Five was called by Stasov Mighty Handul (Moguchayakuchka). The group is just known in Russia and post-soviet states by this name. It includes Mily Balakirev, the leader ( ), Cesar Cui ( ), Alexander Borodin ( ), Modest Mussorgsky ( ), and Nikolai Rimsky-Korsakov ( ). The group officially existed from 1856 to 1870.

99 Musical Nationalism in Russians View 93 music folklore. 3) Stasov s view was possibly based on the popular expression belonged to Mikhail Glinka, who was often referred to as a father of Russian national music. Glinka believed that a composer does not compose his own music, but he just arranges music written by nation. In thirty years after Stasov sounded what music can be considered as national one, the musicologist Arthur Lourie( ) suggested another view to the matter under discussion that was in opposition to Stasov s one. Investigating Lourie s writings, it was realizable that his opinion is based on the postulates of the notable Russian thinkers of the period, so-called the Silver Age ( /30). 4) Unlike Stasov focusing on the fine art critic, Lourie was a noted pianist, composer and an accepted leader of the musical futurists movement in Russia. Besides, after Russian Revolution of 1917, he was promoted the first Chief of Music Division of the People s Commissariat of Enlightenment 5) in the young RSFSR and held his post from 1918 to It is arguable that Lourie s view is essential in that, but there are great numbers of Lourie s music works and writings on various subjects of musical culture and history. That testified his solid knowledge on music, wide range of interests, and critical outlook on the historical and cultural phenomenon. 3) Vladimir Stasov, Our Music (Нашамузыка), Twenty-Five years of Russian Art [Два дцатьпятьлетрусскогоискусства], Vladimir Stasov, Selected works in three volumes, Vol. 2 (Moscow: Iskusstvo, 1952), 224. First the article was published in the Vestnik Evropy (the Herald of Europe) 10(1883, Saint-Petersburg: M.M. Stacyulevitch). 4) In Russia the period from the 1890 to 1920/30 years is usually called the Silver Age. It is titled by the analogy as the Gold Age (first half of the 19th century), that is associated traditionally with the poetry by prominent Russian poet Alexander Pushkin( ). 5) In Russian, Народный комиссариат Просвещения.

100 94 이화음악논집 To investigate the criteria allowing us to value a composer s work as a national music I have chosen three essays, one is by Stasov and two others are by Lourie most appropriated to. Those are Our Music (Нашамузыка, 1883) by Vladimir Stasov, and At the Crossroads: The Culture and Music (Нараспутье: Культураимузыка, 1922) and The Ways of the Russian Music (Путирусскоймузыки, 1933) by Arthur Lourie. This section offers a brief prolegomenon to the investigation of the foregoing topic. It is comparatively difficult to discuss the issues of the national music identity without referring to the history of the nationalism phenomenon. Therefore, section Ⅱ offers a concise explanation of the nationalism in music in terms of the European and Russian musicology. In respect to Russian view, the issue is explored in sections III based on the critical works by art historian and music critic, Vladimir Stasov. The contrary view of composer and music critic, Arthur Lourie is related in section Ⅴ. As A. Lourie belongs to the generation of the Silver Age I felt the necessity of examining the basic ideas of aforementioned period concerned with music. They are presented in the previous section that is Ⅳ. Ⅱ. What is Nationalism Nationalism is a movement aimed at the raising of the patriotic senses of the nation, mostly for independence. 6) The idea of nationalism, whichever directly or indirectly, accompanies political and social conflicts and influenced by any fields of culture. In other words, a passive cultural form 6) Nationalism, Oxford Companion to Music, ed. Alison Lathsam (New York: Oxford University Press, 2002), 826.

101 Musical Nationalism in Russians View 95 of nationalism resulted from its active political or social forms. 7) It is believed, that the phenomenon of nationalism coincided with a cultural period of Romanticism gradually declined by the third decade of the twentieth century, with composers interest turning toward twelve-tone and serial techniques. 8) Temperley stated the primary feature of the nationalism as conscious use of elements that could be recognized as belonging to one s own nation (or would-be nation). 9) Regarding to music, such elements are referred to actual folklore 10) and local fine heritage that can affect the program music. Western and American researchers agree that the nationalism in the fine art of music owes to its emergence as well as its decline to Germany. That was a reaction against of supremacy of German music. 11) In German music itself, the nationalism hardly took its place due to the fact of country s musical success. Richard Taruskin in his Nationalism quoted as followed, the nationalist movement is practically nonexistent in Germany, nor has there been much of one in France. Italian music, too, is exempted, since Italy had an old tradition to draw upon and did not need to resort to the somewhat extraneous resources of nationalist movement. 12) Despite that 7) Richard Taruskin, Nationalism, Grove Music Online (Oxford University Press). [accessed October 11, 2017]. 8) Don Michael Randel, Nationalism, The Harvard Dictionary of Music, 4th ed., ed. Don Michael Randel (Cambridge, Massachusetts and London, England: The Belknap Press of Harvard University Press, 2003), ) Nicholas Temperley, Nationalism, Oxford Companion to Music, ed. Alison Lathsam (New York: Oxford University Press, 2002), ) Actual folklore is referred to as vernacular songs, tunes, and rhythms, or authentically genres, for instance, chastushka of Russia, polka of Poland, or pansori of Korea. 11) Richard Taruskin, Nationalism.

102 96 이화음악논집 the musical nationalism was specific to countries on the periphery of Western Europe, including Russia, non-nationalist country -Germany, France, and Italy- had also a few events related to it. Those were music by Haydn, pamphlet war Querelle des Bouffons, and operas of Italian Risorgimento. Both of them are defined by Richard Taruskin and Don Michael Randel as early manifestations of the nationalism in music. 13) Unfortunately, neither the biggest Russian published manuals on music Му зыкальнаяэнциклопедия (The Encyclopedia of Music), 14) nor the modern textbooks for music colleges by Vera Galatskaya, and by Boris Levik, or for conservatories by Mikhail Druskin 15) have no sections or entries about musical nationalism referring to either Western countries or Russia. The specifics of music are undiscussed in terms of nationalism, but such fact is mentionable if some national folkloric source exists. Thus, the nationalism in the Soviet Union and in its successor, Russian Federation is preferred to be seen in terms of solely negative ideological or political supremacy one nation over other 16) and not to be discussed in terms of 12) Richard Taruskin, Nationalism. 13) Richard Taruskin, Nationalism. Nationalism, The Harvard Dictionary of Music, ) Yuri Keldish, ed., Encyclopedia of Music [Музыкальнаяэнциклопедия], vol. 3 (Moscow; Sovetskaya Encyclopedia, 1976). [accessed July 20, 2017]. 15) Michail Druskin, The History of Foreign Music [Историязарубежноймузыки], vol. 4, Second Half of the nineteenth century (Moscow: Kompozitor, 2002). 16) Tatiyana Egorova, ed., The Dictionary of Foreign Words in the Modern Russian Language [Словарьиностранныхсловсовременногорусскогоязыка] (Moscow: Adelant, 2014), [accessed October 11, 2017].

103 Musical Nationalism in Russians View 97 exhibition, presence, or expression of the authentic national features in the fine art of music. The term nationalism indeed, has some political color and question as to -which term to use- nationalism or nationality. Both nationalism and nationality may be adequately used in order to denote that the national identity is disputable. It is agreeable with Richard Taruskin s words written by him in The New Grove Dictionary of Music and Musician (2001). He believes that Nationality is a condition but nationalism is an attitude, 17) therefore in the following sections, the terms nationality or national identity is used preferably instead of the term nationalism. Ⅲ. Perspective of Vladimir Stasov ( ) on Identity of Russian It is the fact that Russia by the end of the 19 th century, despite progressive development going on in the economic and political fields, in the cultural field was seen as a peripheral country by Europe. In some extent, such view was accounted for by the absence of the academic musical education in Russia. The first two musical institutions Saint Petersburg and Moscow conservatoires were established in the 1862 and 1866, respectively. The Russian cultural society felt the necessity of improving the cultural level of nationality, but such process faced a number of difficulties. The foremost among them was the lack of drives to be well-mannered culturally. As to it, the art historian and music critic V. Stasov, in his treatise Obstacles 17) Richard Taruskin, Nationalism.

104 98 이화음악논집 of the new Russian art (Тормозыновогорусскогоискусства, 1885) referring to the words by Vasily Perov, 18) the Russian painter, noticed that the art is a superfluous decoration for Russia [ ] and the needs in art works here are very minimal, even negligible. 19) In the same context, the foundation of first two conservatoires in Moscow and Saint-Petersburg aimed at helping to growth national musical level up was valued by Russian cultural society with a mixed feeling. For instance, Stasov the contemporary witness of those events claimed that the conservatoires teach students to revere classics, namely foreign music, and that they are serious threats to the national music develop. 20) In his essay Our music (Нашамузыка) being part of the large treatise Twenty-five years of Russian art (Двадцатьп ятьлетрусскогоискусства) originally issued in 1883, he explored, resumed, and critically valued the development of Russian music beginning from the Russian music school s founder Mikhail Glinka and ending by the prominent composer and conductor, Alexander Glazunov( ). The polemics around the issue of Academic music had lead Russian cultural society into two parties. The situation seemed in many ways similar with Bouffons war in Paris. Stasov described the deal between both groups - two literary-concert organizations located in Saint-Petersburg, the capital of Russia until the year I believe that Stasov s description may illuminate the difficulties that Russian composers were encountered. In short, he wrote that The Russian musical society had begun its musical activity 18) Vasily Perov( ) is one of the founder of Peredvizhnics community, a group of Russian realist painters. 19) Vladimir Stasov, Obstaclesof the New Russian Art [Тормозыновогорусскогоискус ства], Vladimir Stasov, Selected Works in Three Volumes, Vol. 2 (Moscow: Iskusstvo, 1952), ) Vladimir Stasov, Obstaclesof the New Russian Art, 135.

105 Musical Nationalism in Russians View 99 since ) Two years later, in 1862, the Free Musical School was founded. 22) Since those events happened, two musical centers -conservative [German] and progressive [Russian] music parties- had been established and indeed fought against each other. The German party representing The Russian Musical Society could not even think that music business would turn to the new Russian musicians hands. They were afraid that the new Russian barbarians would flood with their unbridled wild flow with the good seeds of the German music which those virtuous men of The Musical Society had managed already to plant. 23) The hostile relations between both centers were strengthened by the end of the 1860s. The new Russian composers created their authentic and original musical works, but it was a cause as to why the German party s musicians could hardly accept them. Even those who liked the giftedness of The Mighty Five before and listened to their works, specifically romances with pleasure recently had changed the favor and identified the music by The Mighty Five as a musical nonsense. 24) The situation stated by Stasov, shows that the Russian cultural society had heated debates on the issue of Russian identity in music. But what cases The Mighty Five had implied being talking about the identity of Russian 21) Saint-Petersburg conservatoire was founded on the base of Music classes under the Russian musical society in See: Highest approved Regulation of music college under the Russian musical society in Complete Collection of Laws of the Russian Empire [ПолноесобраниезаконовРоссийскойимперии], Volume 2, 1861 year, (Saint-Petersburg, Press of the second department of His Imperial Majesty s Own Office, 1863), ) Free musical school was a private music-literary organization. It was founded in Saint-Petersburg, in 1862 and at different time headed by Gavriil Lomakin( ), Mily Balakirev( and ), and Rimsky-Korsakov( ) and others. 23) Vladimir Stasov, Our Music, ) Vladimir Stasov, Our Music, 257, 258.

106 100 이화음악논집 music? Stasov pointed out that the distinctive features of the Russian music are orientalism, the tendency to the program music, the extreme intention to exhibiting its own nationality by means of folklore. 25) The application of Russian folklore in the music works was considered by Stasov as an expression of pure and true national musicality. 26) However, Stasov took a note that in order to make music a truly national, it is not enough to put in work some copy of folklore, as gemstone put in a ring, the music has to express the national spirit and people s soul as well as has to be addressed to the real people s life. 27) Ⅳ. Music and Cultural Ideas during Silver Age The Silver Age is a term applied to the period from the last decade of the 19 th century to the first two or three decades of the 20 th century. It is disputable as to who first suggested the term. A literary critic Nikolai Otsup( ), a poet Vladimir Piast( ), and a philosopher Nikolai Berdyev( ) have a pretentions of the primogeniture. However, the term was first made and used with reference to Russian poetry that extensively flourished at that time. Nowadays the scope limited by poetry is being expanded and applied with reference to the entire culture of the mentioned above period. The temporal frame of the Silver Age coincides with the period referred to as in European musicology fin die ciecle. It is the fact that Russia of that period considered its culture within the Western culture and the progress of Russian science was seen mostly 25) Vladimir Stasov, Our Music, ) Vladimir Stasov, Our Music, ) Vladimir Stasov, Our Music,

107 Musical Nationalism in Russians View 101 as a part of the Western contribution. As Russian national identity has been generating and cultivating, the discussions gradually acquired the focus on how distinctive Russia from Western Europe and what it is to make Russia distinctive from the West. Such discussions dealt with the Russian music in terms of the national essence were attended by not musicians alone, but poets, critics, and philosophers as well. As opposite to fin die ciecle, the Silver Age had aimed at uniting cultural constituents all in one whole. And music in that deal had a key role. The musicality is being an integral feature of a non-music notion as well. In the works of the Russian thinkers such as Nikolai Berdyaev, Alexander Blok, Mikhail Bakhtin, Alexei Losev non-musical conceptions -civilization, revolution, answerable act, and logic are filled with the so-called musical spirit or have specifics of the music language s elements. For example, Nikolai Berdyaev in his treatise The Meaning of the Creative Act (Cмыслтв орчества, 1916) defined the turn of the 19 th and 20 th centuries as an epoch of music spirit ruling over the spirit of plastic art. 28) He put forward the idea that non-art constituents of culture -philosophy, religion, moral, or social communication are subjects of the creative act. His expanding definition has set the form of world perception that was not ever belonged to the art s field before, on the same level with creative subjects including music art. The other example namely the answerable act in Bakhtin s Toward a Philosophy of the Act (Кфилософиипоступка, 1921) is based on the emotional-volitional tone and rhythm making act personal and having its individual spatial-temporal feature. 29) The Collapse of Humanism (Кру 28) Nikolai Berdyaev, The Meaning of the Creative Act [Смыслтворчества] (Moscow: G. Leman and S. Sakharov s publish house, 1916), ) Mikhail Bakhtin, Toward a Philosophy of the Act [Кфилософиипоступка], ed. S.

108 102 이화음악논집 шениегуманизма, 1921) is described by Alexander Blok as loss of music spirit which scientific discoveries, politic movements, and celebrities were penetrated with. Besides, Blok defined the revolution as returning to the basics that is harmony between human and nature, harmony between life and art, between science and music, and harmony between civilization and culture. 30) To add, Alexei Losev examined music not as a matter consisting of some physical, physiological and psychological characteristics, but above all, as a subject of logos and logic (Музыкакакпредметлогики [Music as a Subject of Logic], 1927). Accordingly, music during Silver Age has being stated as an essential attribute in the treatises by prominent artists, the musicality or music itself being advanced as unifying and integrating factor that is able to bond philosophy, history, religion, logos and other elements of culture with fine art with deeper connection. Other question that was raised by Russian thinkers during the Silver Age is how completely independent elements could be meshed in the whole. This matter was raised by M. Bakhtin in his earliest philosophic paper Art and Answerability (1919). He pointed out that three areas of human culture science, art, and life ought to be bonded not by solely the spatial and temporalities but to be imbued with the inner integrity of meaning. Otherwise, despite their adjoining, they alienate to each other. Moreover, three areas of human culture become the whole only within a unity of Bocharov (Moscow: Iskusstvo, 1979), 82, In The Philosophy and Sociology of Science and Technics [Философияисоциологиянаукиитехники]; An Annual book, , M. M. Bakhtin, Toward a Philosophy of the Act, ed. Vadim Liapunov and Michael Holquist, trans. Vadim Liapunov (Austin: University of Texas Press, 1993). 30) Alexander Blok, The Collapse of Humanism [Крушениегуманизма], Literature and Life [Литератураижизнь], 1; originally published in Знамя (The Flag), no. 7-8 (1921), [accessed July 20, 2017].

109 Musical Nationalism in Russians View 103 individual person who accustoms them to his wholeness. 31) In two years after Bakhtin s paper was published, A. Blok in his Collapse of Humanism wrote that nowadays the art is not the round dance of muses. All arts have been teased apart on schools, movements, movements of movements. The situation has resulted in that the sculptor misunderstands a painter, the painter misunderstands a musician. Both, they misunderstand a writer who is very sagacious in contrast with the light-mined artist. And they all misunderstand an artisan. [ ] The spirit of wholeness, the spirit of music had gone off us. 32) In other words, the tearing apart on the narrow specializations impoverished of mental view in general and lead to a loss of cultural wholeness of person. Undoubtedly, Lourie being a representative of the Silver Age with musical and philosophic background was acquainted with his contemporaries philosophic works and ideas, especially since some of them were his friends. As regards to music, it is being the necessary element of Russian culture of the Silver Age. But how does the issue of national identity of Russian music bond with Silver age s mindset? 31) Mikhail Bakhtin, Art and Answerability [Искусствоиответственность], Aesthetics of Literary Art [Эстетикасловесноготворчества], ed. S Bocharov (Moscow: Iskusstvo, 1979), 5. 32) Alexander Blok, The Collapse of Humanism, 1.

110 104 이화음악논집 Ⅴ. Perspective of Arthur Lourie ( ) on Identity of Russian Music 1. Deny who you are, not for Russia, but for you Before examining Arthur Lourie s view on foregoing topic I felt it is necessary to say a few words about Lourie s essays that his view was sounded in. The first essay At the Crossroads: The Culture and Music was published in 1922 in the last issue of cultural almanac Стрелец (Archer) known by publications belonged to the symbolism, acmeism and futurism movements spread across Russia throughout the Silver Age. There were only three issues in the years 1915, 1916 and 1922, both edited by the poet Alexander Belenson. Before publishing, Lourie presented his essay to the audiences of the Petersburg Free Philosophy Association 33) in November The first two sections of his work were dedicated to the memory of the Russian significant poet-symbolist Alexander Blok( ), whose death was treated by many not merely as the end of the Silver Age but as a death of the Russian Revolution as well. 34) Lourie, likewise Blok, believed that the meaning of the revolution born from music s spirit is not solely a forming of a new political system but a returning back to nature, and creating a new man-artist, who is able to live and act in the new epoch of eddies and storms. 35) Revolution for both (Blok and Lourie) meant the 33) Petersburg Free Philosophy Association( ) was founded by literary critics and philosophers Razumnik Ivanov-Razumnik and Andrei Bely. The goal of the association was the exploration and popularizing philosophic issues of culture and open imaginative communication. 34) Arthur Lourie, At the Crossroads: The Culture and Music [На перепутье: культу ра и музыка], Archer [Strelets], ed. Alexander Belenson, no. 3(1922), 147. (Saint- Petersburg: Pervayagosudarstvennayatipografiya).

111 Musical Nationalism in Russians View 105 crossroad, the Russian man, stood at such, should conceive the pressing needs to unite music with other parts of culture. Lourie associated Blok s death with the complete loss of any hope to revive the Russian culture situated at that time in collapse and described by the author as a despair, non-musicality and non-spiritual space. 36) In this regards, Lourie consciously referred to the lovely Blok s expression deny who you are, not for Russia but for you, 37) the expression being sacred formula for a man living meaningful spiritual life. 38) It called for releasing from any external and unnatural ones in order to conceive man s identity. That was the only condition under that the Russian culture is able to regenerate itself. The second essay Путирусскоймузыки (The Ways of the Russian music, 1933) 39) was written in a decade after Lourie escaped from Russia in The essay was published in the quarterly journal of the Russian immigrants Числа (Numbers) 40) edited by the acmeist-poet Nikolay Otsup. Unlike the first essay, the second one dealt with the Russian music in interconnection with French and German music. Lourie noted the music of three countries -French, German, and Russia- as three national elements: Latin (French music), German and Slavic (Russian music). He emphasized, sometimes excessively, the Russian composers role in realizing by France 35) Alexander Blok, The Collapse of Humanism, 1. 36) Arthur Lourie, At the Crossroads: The Culture and Music, ) The expression belongs to the Russian dramatist Nikolai Gogol( ). 38) Alexander Blok, Irony [Ирония], Speech [Речь], December 7 (1908). library/blok/blok_ironiya.html. [accessed July 20, 2017] 39) Arthur Lourie, The Ways of the Russian Music [Пути русской музыки], Numbers [Tchisla], 7-8 (1933, Paris: Cashiers Trimestriels), ) The journal Numbers [Числа] was introduced to the public as a collection where poetry, prose, literary critic, philosophy, painting, music, theatre, cinematography, free words, review of Russian culture in various countries, miscellanea and bibliography take places.

112 106 이화음악논집 its own musical nature preventing from German music s influence. It is the fact, that the Russia was affected by German culture as well as French one for a while, to be exact since the Russian Tsar Peter the Great s reigning ( ). As for the crossroads, Russia by the end of the 19th century relieving gradually from the foreign music faced the need to create its own national and authentic music. 41) Paying attention to referred above sacred formula that Lourie put forward, it begs the question, whether identity can appear if denied personality, and whether national identity can appear if denied nation? 2. Elaboration. Disunity and Subordination Generalizing the Russian composer school development beginning from the 19 th century, Lourie pointed out, that there is strange gap between the processes in culture and in music. 42) Moreover, he argued that the Russian musicians had no internal necessity 43) to be interested in the national cultural thought. Indeed, the state of the Russian cultural thought at that time was rather difficult. For instance, the philosophy had a character of some amateur discussions, rather than an academic science. Besides it, the teaching philosophy during a few years was forbidden, and all treatises written by the foreign authors were subject to the pressing censorship. 44) As foreign philosophy was banned the universities focused on the Orthodox Christianity basis, however, the discipline syllabus also required a necessary approval from the Ministry of Religious Affairs and Public Education. 45) After 1863, 41) Arthur Lourie, The Ways of the Russian Music, ) Arthur Lourie, At the Crossroads: The Culture and Music, ) Arthur Lourie, At the Crossroads: The Culture and Music, ) For example: The Regulations of Censorship(April 22, 1828); The Provisional Rules on Censorship and Press(April 06, 1965).

113 Musical Nationalism in Russians View 107 as the power of Russian Tsars regarding to the foreign philosophy softened a little, it had led to the strong confrontation between followers of Slavic and Western cultures. Lourie made mention of the stand-off between Slavophilers and Westerners in music as the most symbolic philosophic discussion. It is a fact, that founder of the Russian music school M. Glinka( ), his successor Alexander Dargomyzhsky( ), and composers of The Mighty Five were belonged to the Slavophilers, in contrast, Westerners were the founder of Saint-Petersburg Conservatoire Anton Rubinstein( ) and Peter Tchaikovsky( ), Anatoly Lyadov( ) and Sergei Taneev( ), as well. The Westerners interpreted the role of Russian composer as elaborating the national Russian nature with the Western musical methods, 46) in contrast, the Slavophilers, according to M. Glinka s popular expression, declared that composer just arranges music written by [Russian] nation. Interestingly, the peculiarity of Russia, according to Lourie, was not so much of a confrontation between both groups what to some extent is natural, but disagreement within groups itself. The lack of harmony among one group s members, who seemed joined by the same idea, has become the key reason for relating with what has been lost in the national culture: [ ] Russian music is an independent and closed world, remained apart from the Russian cultural thought throughout almost the entire way of its development. There were fragile attempts to listen to the public voice before, but they have led to further division and discord between the musicians. Let 45) Regina Eimontova, Russian Universities on the Boarder of Two Epochs; From Serf Russia Toward Capitalistic Russia [Русские университеты на грани двух эпох. От России крепостной к России капиталлистической] (Moscow: Наука (Thescience), 1985), ) Arthur Lourie, The Ways of the Russian Music, 219.

114 108 이화음악논집 us remind the former antagonism between Anton Rubinstein, [Alexander] Serov, and Balakirev s circle [Mighty Five] [...] on the one hand, and Muscovites ([Pyotr] Tchaikovsky, [Herman] Laroche, and, [Sergei] Taneyev) on the other hand. The mentioned above period, certainly, was a notable time. That was the most active period of the cultural growth of the Russian music. But even though, there is not even a sole example of some composer group or a single composer had a vivid bond with the Russian culture. 47) In continuing with the discussion of disunity within the group, the Mighty Five is a good example. It is well-known that in order to reflect deeply with the real Russian life the group was organized as an opposition to the academic so to say Western music. Indeed, the Mighty Five was not the solely group declaring the nationality as a representative feature of the country s art. Along with that tendency, other communities proposed similar ideas. To take an example, the Artel of Artists( ) had been formed in opposition to academic rules in fine art, or a literary group under the magazine The Moscovite( ) put forward the Slavophilers values. Lourie claimed that at first glance the Mighty Five joined the composers maintaining an idea of reflection of the national identity in music. But in fact, they worked by walling off from each other. Briefly, the group s members either denied or ignored the achievements of their colleagues. The general language of the Mighty Five was created with the bitter price of complete and indisputable subordination. 48) To put it another way, the members were oriented to the requirements of the group s founder Balakirev rather than to theirs own wishes. Later, since Rimsky-Korsakov came to power, slightly occurred Russian nature s elements were replaced by the 47) Arthur Lourie, At the Crossroads: The Culture and Music, ) Arthur Lourie, At the Crossroads: The Culture and Music, 154.

115 Musical Nationalism in Russians View 109 vocational and formal dogmatism came from the academic namely German musical culture and, after all, led the group to its dissociation. Lourie emphasized that any manifestation of personal wish was a subject of persecution and reproof. 49) Conforming the preceding expression, it is the fact that the works of A. Borodin and especially M. Mussorgsky were stigmatized as anti-musical by Rimsky-Korsakov, who attempted to refine it by his adjustment. 50) Lourie argued that the individual implementation of the national elements in the music by Glinka, Borodin, and Mussorgsky was evident, but afterward, albeit narrow national signs are outwardly presented, the Russian music gradually being lost its face, its true face. 51) This is a cause why Russian music has no right to be referred to us a truly national one. This is a False-Russian style. 52) In summary, the first experience to reflect the national identity in music through joining musicians had been a fail in the sense that albeit the Mighty Five declared the expression of Russian nature s elements as a goal, in fact, the method of how that goal could be achieved was not devised. Following the direction sounded by Stasov, the national identity is determined by using raw folklore rather than national idea or national consciousness. Mixing raw folkloric tunes with academic German music forms and French- Italian melodic phrases had led the Russian music to the lack of its own national essence. Lourie believed that in order to turn back and come true with the national spirit of Russian music, a few conditions are essential. These are followed: 49) Arthur Lourie, At the Crossroads: The Culture and Music, ) Arthur Lourie, At the Crossroads: The Culture and Music, ) Arthur Lourie, At the Crossroads: The Culture and Music, ) Arthur Lourie, At the Crossroads: The Culture and Music, 167.

116 110 이화음악논집 The national character of Russian music has to be a result of the individual implementing elements of folkloric customs and the creating new music forms that are not simply copied but interrelated deeply with singing customs. 53) Lourie s opinion, concerning the subject under discussion, was to some extent close to a philosopher Vladimir Soloviev s thought, expressed in his treatise The love for people and Russian national ideal (Любовьклюдям ирусскийнациональныйидеал, 1884). The philosopher insisted that the national essence or the national character is unrequired with artificial stimulation. The truly national does not have anything on purpose. 54) With respect to music, Soloviev s words can be interpreted as followed. The music work expresses not solely individuality of composer but the soul of the nation that he belongs to, as well. What all composer needs is thinking of his work and doing his work. Otherwise, the national identity has no chance to come true. Ⅵ. Conclusion Taking into account all mentioned above, the outlook on the matter of national identity in music during the second half of the 19 th century and by the third decades of the 20 th century had undergone changes. From the one hand, there is Stasov s view, who believed that using raw folkloric tunes 53) Arthur Lourie, At the Crossroads: The Culture and Music, ) Vladimir Soloviev, The Love for People and Russian National Ideal: Open Letter to I.S. Aksakov [Любовьклюдямирусскийнациональныйидеал: открытоепис ьмоки. С. Аскакову], The National Issue in Russia [НациональныйвопросвРосс ии] (Moscow: ACT, 2007), 43.

117 Musical Nationalism in Russians View 111 and addressing to real people s life made music a truly national. From the other hand, Lourie, who insisted that the national essence in music is a result of the composer s work in which the national folkloric customs are treated individually and creatively. Belonged to one national culture but separated by period of less than half of century both critics recognized the reflection of the national identity in music differently. The activity of Stasov entirely belongs to the second half of the nineteenth century when national schools were arisen over Western Europe. His conception of national identity in music is based on the general view accepted at that time and expressed fully in the western lexicography. That was the conscious using the elements of national folklore and local fine heritage that can affect the program music. In contrast, Lourie as are presentative of the next generation recognized a matter of national identity in accordance with the philosophic thoughts of the first half of the 20 th century, known in Russia as the Silver Age. As composer is a representative of the country that he belongs to, the national originality of his music does not need any manifestation by means of folklore or other authentic tunes caused by it becomes apparent naturally. Have chosen Blok s sacred formula Deny who you are, not for Russia but for you, Lourie called for a person to deny not his personal identity, but his personal selfishness. In the similar key, if a composer disclaims using of raw folklore as a distinguishing feature of the country, he denies the nationalism but not his national identity. Keywords 민족음악의정체성, 블라디미르스타소프, 아르투르루리에, 철학, 민속음악, 분열 National identity in music, Vladimir Stasov, Arthur Lourie, philosophy, folklore, disunity

118 112 이화음악논집 Bibliography Bakhtin, Mikhail. Искусствоиответственность [Art and Answerability]. Эстетикасловесноготворчества [Aesthetics of Literary Art]. Edited by S. Bocharov, Moscow: Iskusstvo (Art), 1986, Кфилософиипоступка [Toward a Philosophy of the Act]. Философияисоциологиянаукиитехники [The Philosophy and Sociology of Science and Technics]: An Annual book Moscow: Nauka, 1986, Toward a Philosophy of the Act. Edited by Liapunov, Vadim and Michael Holquist. Translated by Vadim Liapunov. Austin: University of Texas Press, Berdyaev, Nikolai. Смыслтворчества [The Meaning ofthe Creative Act]. Moscow: G. Leman and S. Sakharov s publish house, Blok, Alexander. Ирония [Irony]. Речь [The Speech], December 7 (1908). Крушениегуманизма [The Collapse of Humanism]. Знамя [The Flag], no. 7-8 (1921). Druskin, Michail. Историязарубежноймузыки [The History of foreign music]. Vol. 4, Втораяполовинадевятнадцатоговека [Second Half of the Nineteenth Century]. Moscow: Kompozitor, Duckles, Vincent and Jann Pasler. Musicology. Grove Music Online. Oxford University Press; Original Report, Journal of American Musicological Society 8/2 (1955), com.access.ewha.ac.kr/subscriber/article/grove/music/ pg1. [accessed October 11, 2017]. Egorova, Tatiyana, ed. Словарьиностранныхсловсовременногорусског оязыка [Dictionary of the foreign Words in the Russian Modern Language]. Moscow: Adelant, Eimontova, Regina. Русские университеты на грани двух эпох. ОтРо ссиикрепостнойкроссиикапиталлистической [The Russian Universities on the Boarder of Two Epochs; From the Serf Russia toward the Capitalistic Russia]. Moscow: Nauka, 1985.

119 Musical Nationalism in Russians View 113 Keldish, Yuri, ed. Музыкальнаяэнциклопедия [Encyclopedia of Music]. Vol. 3. Moscow: Сoветскаяэнциклопедия, Lourie, Arthur. Нараспутье: культураимузыка [At the Crossroads: The Culture and Music]. Strelets [Archer], 3 (1922), Saint- Petersburg: Pervayagosudarstvennayatipografiya, Путирусскоймузыки [The Ways of the Russian Music]. Числа [The Numbers], 7-8 (1933), Paris: Cashiers Trimestriels, Stasov, Vladimir. Нашамузыка [Our Music]. Двадцатьпятьлетрусск огоискусства [Twenty-Five Years of Russian Art]: Selected Works, Vol. 2, Fine art/sculpture/music. Moscow: Iskusstvo, iskusstva.shtml.. Тормозыновогорусскогоискусства [Obstacles of the New Russian Art]. Selected Works, Vol. 2. Moscow: Iskusstvo, iskusstva.shtml. Lathsam, Alison, ed. Oxford Companion to Music. New York: Oxford University Press, Randel, Don Michael. Nationalism. The Harvard Dictionary of Music. 4th ed. Edited by Don Michael Randel. Cambridge, Massachusetts, London, England: The Belknap Press of Harvard University Press, Soloviev, Vladimir. Любовьклюдямирусскаянациональнаяидея: откр ытоеписьмоки.с.аскакову [The Love For People and Russian National Ideal: Open Letter to I.S. Aksakov]. Национальныйво просвроссии [The National Issue in Russia]. Moscow: ACT, Taruskin, Richard. Nationalism. Grove Music Online. Oxford University Press. cle/grove/music/50846.

120 114 이화음악논집 국문초록 러시아비평가스타소프와루리에의러시아민족주의음악에대한비판 Lyudmila Gauk 미하일글린카, 알렉산드르보로딘, 모데스트무소르크스키, 표트르차이코프스키. 이들은모두러시아민족주의음악과관련된작곡가들이다. 과연우리는그들의음악을민족주의음악이라말할수있는가? 서유럽전반에걸쳐민족주의가부상하면서음악에서도민족주의라는문제가대두되었다. 음악에서의민족주의 라는용어는서구음악학에서나온것으로, 그나라고유의것으로인정받은민속문화혹은순수전래문화유산을음악에의식적으로사용하는것을의미한다. 그러나러시아의경우에는그러한정의가변화되어왔다. 정확히말하자면, 민속음악선율을사용하고유럽음악의형식으로민속음악을포장한음악들이진정한러시아국가의음악으로서평가받기는어려웠다. 본논문은러시아음악비평가들이저술한 3개의비평서, 블라디미르스타소프 (Vladimir Stasov) 의 우리의음악 (Our Music, 1883) 과아르투르루리에 (Arthur Lourie) 의 문화와음악의갈림길 (At the Crossroad: The Culture and Music, 1922), 러시아음악의방향 (The Ways of the Russian Music, 1933) 을분석연구한것으로, 음악의민족주의 라는개념이유럽과러시아음악학에서어떤관점과의미로해석되고있는지를탐구한다. 또한이논문은 19세기말부터 20세기초까지음악에서의민족적정체성이어떻게다르게변해왔는지, 무엇이음악에있어서민족적정체성의관점을바꾼것인지에대한비평적인접근이다.

121 Musical Nationalism in Russians View 115 Abstract Critical Reading of Musical Nationalism: Based on Writings of Vladimir Stasov and Arthur Lourie Lyudmila Gauk Nationalism in music is often association with Russian composers, such as Mikhail Glinka, Alexander Borodin, Modest Mussorgsky, Peter Tchaikovsky. But how national is their music? The concept of nationalism in music according to western musicology, means a conscious use of actual folklore or/and local heritage recognized as belonging to one s own nation. However in Russia, such definition has been frequently changed. To be exact, the music composition using folkloric tunes yet employing western musical forms, can be hardly considered as true national one. This article analyzes three writings by Russian music critics. They are Our Music (Нашамузыка, 1883) by Vladimir Stasov, At the Crossroads: The Culture and Music (Нараспутье: Культураимузыка, 1922) and The Ways of the Russian Music (Путирусскоймузыки, 1933) by Arthur Lourie. In these writings, first I explore what the term nationalism in music is meant in the view of Western and Russian musicology. The second, how differently the national identity in music was seen during the period from the end of the nineteenth century to the early of the twentieth century. Finally I will examine what caused changes on the view of national identity in Russian music.

122 55) Digital Musicology as a Method* Eun-Ha Kim Contents Ⅰ. Introduction Ⅱ. History of Digital Musicology Ⅲ. Technology required for digital musicology 1. Understanding Digital Humanities 2. Methodology of Digital Musicology Ⅳ. Conclusion: The challenges and expectations of Digital Musicology Bibliography Abstract * This work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (NRF 2014S1A5B ). - 논문접수일 (7월 31일 ), 심사일 (8월 30일 ), 게재확정일 (9월 15일 )

123 118 이화음악논집 I. Introduction We have entered into the era of the fourth industrial revolution with the establishment of Information & Communication Technology (ICT) as an intelligent technology that predicts and suggests human expectation and behavior through the accumulation and analysis of data through the connection between people and objects, and objects to objects via the Internet. In an environment of such rapid changes, humanities have embraced the change in information technology as a methodology, and a new field called Digital Humanities has emerged. Under the support of the National Endowment for the Humanities (NEH), the development of TEI (Text Encoding Initiative), an electronic text description language, has been actively developed since the 1990s in the West, beyond the computerization of human knowledge and the development of markup languages, which describe humanities texts electronically. Diverse digital humanities projects by multidimensional and multinational support systems are fostering new humanities scholars who are engaged in the utilization and operation of ICT to continue the study of humanities in a new era. From data mining that derives the meaning of the globally computerized data to draw relationships and contexts of information into new and diverse topics, to the visualization technology of spatial connectivity, steady progress has been made, but in Korea, where cutting edge of ICT is pursued, the history of Digital Humanities is short and still not widely accepted. For humanities scholars living in the Hyper Text Age, 1) Digital Humanities 1) Hypertext is a text that enables a searcher to perform a non-sequential search, in which a specific word in the document is linked to another word or database, allowing the user to cross the relevant document and obtain the desired information.

124 Digital Musicology as a Method 119 enables a new horizon of humanities studies apart from traditional humanities methods. Beyond merely providing convenience of searching by digitizing humanities data, we are now in an age of research through collaboration with the so-called intelligent web technology, as new texts are constructed through links between hypertexts and the meaning contained in web pages through semanticization of web environment is deduced to provide personalized information wanted by the searcher. <Ex. 1> Web Evolution 2) In the field of musicology, which is included in the category of humanities, the digital environment that can be applied in academic methodology is continuously expanding and diversifying, but musicologists have been unable 2)

125 120 이화음악논집 to quickly respond to the demands and changes of the times, nor seriously considering the importance and necessity of Digital Humanities. Unlike the types of homepages run by an individual or organizations to provide information accompanied by musical score or music streaming, it is only recently that music databases for music historical data on an academic basis has been constructed in Korea, and even then there are only one or two. 3) The databases use web technologies based on so-called two-way communication (Web 2.0) in which information related to the music data accumulated in the database is searched from the relevant site and a record thereof is retained. The web technology based on musicology that recommends search through Semantic Web 4) has not been introduced in Korea yet. In this paper, we seek to apply the methodology pursued in Digital Humanities, not only in the digitalization of primary sources 5) but also the linking of data linked with information about these data through the semantic 3) Noteworthy example of a specialized music database that were recently constructed include the Korea Arts Digital Archive (DA-Arts; and Ewha Music Database (EMDB, Ewha Music DataBase; The Ewha Music Database, which was launched in November 2014, is a database on materials related to modern music education in Korea, China, and Japan. It is a database for simple and advanced searches, as well as being the first and only search system in Korea that enables searching for the first incipit of music. Technology application has been deeply implemented enabling smooth multi-lingual support and Linked Data through search words. 4) Semantic Web is a framework and technology that computers process based on the ontology principle with the relationship between information and resources (web documents, various files, services, etc.) in a distributed environment such as the current Internet, Semanteme. Semantic_Web. 5) Music historical materials include autographed manuscripts, prints, documents, sound recordings, publications, and video materials.

126 Digital Musicology as a Method 121 web, and explore what techniques and methodologies are appropriate for the specificity of musical information. This is because future music databases and archives must have a system for reading and analyzing linkage information between data, beyond the mere digitalization of musical information. Although there are many music related databases around the world that are available through the internet, since the technology and methodology required for constructing a creative search system have not been described in Korea, the purpose of this paper is to introduce the history and related technologies of Digital Musicology. Ⅱ. History of Digital Musicology Most of the work in the humanities field is led by digital technology. Musicology is no exception. A key area in which digital technology has an impact on research is the access to data and the expansion of access. Most of the general research data in musicology studies have been preserved in textual form. Since the development of phonographs, acoustic recordings have become possible from the early 20th century, and the results of fieldwork, especially folk music research, started to be researched. In relation to the research methodology, even only a few years ago, researching data from a specific source could only be done by looking up the relevant source through printed bibliography, going to the place where the material was stored and reading it, or ing the library and waiting to receive the photocopy or microfilm of the source. The study of primary source of music meant the limitations of the study in terms of time and cost.

127 122 이화음악논집 The digital environment has made a big difference in musicology. A lot of materials, including bibliographic aids, can be used online without going directly to where the material is stored, and it is now possible to quickly and easily find sources for related materials. Several music specialist collections have been digitized and are now accessible online. Among them are archives for specific composers, such as Digital Archive of the Beethoven-House, 6) or based on a specific collection of libraries like the Digital Image Archive of Medieval Music 7) or Julliard Manuscript Collection, 8) or thematic archives, such as the The Josquin Research Project 9) at Stanford University, and the Ewha Music Database 10) by the Ewha Music Research Institute. The access to the primary source of music has become surprisingly easy, and these archives require legal solutions, such as computer technology and copyright that is necessary to digitize and deliver images and sound sources. Musicologists have been faced with the challenge of continuously developing functions to analyze, collect and access large amounts of data for researchers and searchers. 6) 7) 8) 9) 10) For more detailed information refer to Hyun Kyung Chae, Challenges in the Development of the Database for Research in Modern East Asian Music, Journal of Ewah Music Research Institute 18/2(2014),

128 Digital Musicology as a Method 123 <Ex. 2> Beethoven House Homepage Screen 11) <Ex. 3> DIAMMI Homepage Screen 12) 11) en). 12)

129 124 이화음악논집 <Ex. 4> JMC Homepage Screen 13) <Ex. 5> Homepage Screen 14) 13) 14)

130 Digital Musicology as a Method 125 <Ex. 6> EMDB Homepage Screen 15) Ⅲ. Technology required for digital musicology 1. Understanding Digital Humanities It is only natural for Digital Musicology, with its background in humanities, to require the methodology of Digital Humanities, which can be defined as humanities research and education carried out in new ways with the help of ICT. 16) What Digital Musicology pursues in the context of Digital Humanities can be summarized as follows: 1. To encode data in a document into a computer language, that is, to provide it as an online service. 2. To present new methods of humanities, such as analyzing and interpreting the humanities data acquired through the pool of 15) 16) Hyun Kim, Young-sang Lim and Baro Kim, Introduction to Digital Humanities (Hugh Books, 2016), 17.

131 126 이화음악논집 information provision, and constructing and visualizing contents on various topics. 3. To constantly create storytelling constantly through the intrinsic basis of digital humanities, that is, socio-cultural communication, and to realize the popularization of humanities by reading and satisfying demands of cultural industry as well as at the academic level. 17) In order to understand the early stages of technology applied to Digital Musicology, it is necessary to grasp the connection with Digital Humanities and the technology. The tools and methods to understand the purpose of Digital Humanities research and the nature of the data, and to learn the programs and digital technologies that are currently being developed and provided are as follows: 1. XML [extensible Makrup Language] document: This is an electronic text conversion method that converts text that deals with human knowledge into readable data for computers. 2. Text Encoding Initiative for digital text production and application. 3. Review of social humanities relations: Wikipedia system and design analysis. 4. Data Curation and Modeling in Digital Humanities: This means acquiring various methods of managing, operating, combining, and linking data. This includes systematic management of large-scale digital data and the design and implementation of 17) Hyun Kim, Digital Humanities: Conception of Win-Win Composition of Humanities and Cultural Contents, Humanities Contents, No. 29, 23.

132 Digital Musicology as a Method 127 a knowledge information database for linkage of related knowledge resources. 5. Operation of Database Management System (DBMS): This teaches how to extract key semantic elements from XML documents loaded into a database, and how to analyze and synthesize them, and also teaches the basics of data mining to find new connections between semantic elements. 6. Understanding and Applying the Semantic Web: This is for the machine to recognize the semantic connectivity among the information data based on XML (sxtensible Markup Language), and when the searcher searches for data, it analyzes the preference and searches for information on various web pages autonomously, for customized search. 7. Understanding computer programs that collect, search, and infer information linked on the web through metadata and ontology 8. Implementation and visualization of storytelling related to Digital Musicology. 2. Methodology of Digital Musicology Based on the above-mentioned digital humanities technology, Digital Musicology is based on the specificity of music, and includes music encoding which converts the record of the sound and the symbol into the computer language (music encoding) and technology related to computer language (MIR, Music Information Retrieval) required for conversion and search between musical score and sound.

133 128 이화음악논집 1) Music Encoding Initiative [MEI] for Digitization of Sheet Music 18) The Music Encoding Initiative (MEI) started with the intent of running an open source system for encoding music documents in a machine-readable structure as open source. The main institution is the Akademie der Wissenschaften und der Literatur (Academy of Sciences and Literature) in Mainz, Germany. As a result of collaborating with experts from diverse music research communities, including engineers, librarians, historians, and theorists, to achieve recordings of a wide range of music documents and data since the 1950s, MEI has formulated the extensible Markup Language (XML) schema and the musical notation document format using XML became the model of the music recording around the world. Therefore, the Music Encoding Initiative (MEI) in the humanities project has become a major recommendation along with the Text Encoding Initiative (TEI). <Ex. 7> MEI Homepage Screen 19) 18) The MEI homepage provides an introduction to the MEI, and information on projects and tools that utilize the MEI. 19)

134 Digital Musicology as a Method 129 2) Music information retrieval [MIR] The achievements of early MIR studies include of the development and utilization of technique of drawing musical notes such as MIDI [Musical Instrument Digital Interface], and since the 2000s, it has become possible to search for unprecedented amounts of music information on the Internet by expanding the data by vast texts, sound sources, and video files. As a result, search technology has become diverse, and all kinds of recorded music files have been used for searching through not only video but also audio signal processing. Music information retrieval (MIR) has been constructed in the direction of creating an interface by extracting and inferring meaningful features from music to build a retrieval system, and to connect various contents through an expansion of internet browsing. This has evolved into a data recommendation system according to the user s preference, and a customized search system based on the semantic web is being developed. In the past, technical attempts were often disconnected from the context because they did not take into account the attributes of music and musical cultural features. However, such a search environment remained unused and eventually fell behind, and currently, encodings and related searches are made in terms of musical contexts, user attributes, and user contexts. Now that music is consumed according to the user s personal time, and there is no spatial limit of the use thanks to the mobile music player and the streaming service, MIR has been shifted from system-oriented to user-oriented design, and now applies not only individual music tastes, but also actual music search and recommendation methods. The convergence of multidisciplinary researchers, such as musicologists, psychologists, sociologists, and librarians and computer scientists regarding cataloging systems, can

135 130 이화음악논집 provide user-based search tools for music content and context composition. 3) Constructing Digital Music Catalogues and Music Archives Music archive originates from Music Cataloging. The first music catalogue 20) of music prints and manuscripts of composers and theorists in over 200 libraries in Europe, along with brief information on the composer s life, was written by Robert Eitner ( ), and the tradition of the music cataloging has been continued by the RISM [Répertoire International des Sources Musicales] in the 1950s. Unlike Eitner s catalogue printed in the form of a book, RISM is cataloged in the form of a CD-ROM, and the RISM Online Catalog service was launched on the Internet via RISM-OPAC in ) <Ex. 8> RISM Homepage Screen 22) 20) Robert Eitner, Biographisch-bibliographisches Quellen-Lexikon: der Musiker und Musikgelehrten, christlicher Zeitrechnung bis Mitte des neunzehnten Jahrhunderts (Leipzig, ); Eun-Ha Kim. The Current Status and Issues of Music Archives in Korea, Journal of Ewha Music Research Institute, 20/1(2016), ) Eun-Ha Kim. The Current Status and Issues of Music Archives in Korea, )