간행물
음악이론포럼 KCI 등재 Music Theory Forum
- 발행기관 연세대학교 음악연구소
- 자료유형 학술지
- 간기 반년간
- ISSN 1598-6659 (Print)
- 수록기간 1992 ~ 2023
- 주제분류 예술체육 > 음악학 예술체육 분류의 다른 간행물
- 십진분류KDC 670DDC 780
권호리스트/논문검색
제16권 (2009년 12월) 7건
1.
2009.12
구독 인증기관 무료, 개인회원 유료
This paper examines some formal aspects shown in Allegro movements from Handel`s violin sonatas, comparing with Corelli`s solo violin sonatas, published in 1700. In Corelli`s sonatas, Allegro movements with a repeat sign are more prominent than those without a repeat. In the movements without a repeat, there is no structural dominant at the end of the second main period and no reprise in the beginning of the third main period; on the other hand, in the movements with a repeat, the third main period begins with the reprise in the original key just after the second main period ends with vi or iii. In Handel`s spurious sonatas, HWV 372, 373, 368, 370, reprise is also shown after the cadence over vi or iii. But there is a great difference between Handel`s and Corelli`s: In Corelli`s, there is no retransition before the reprise, while the retransition leads to the reprise in Handel`s spurious sonatas. Handel`s reliable sonatas, HWV 361, 364a, 359b, 371, show advanced events in formal aspects, giving distinct differences with his spurious sonatas: they have retransition toward the structural dominant and reprise, which are not presented in the suspicious sonatas. This study would provide a logical base to estimate which pieces are real or spurious through the formal analyses.
6,100원
2.
2009.12
구독 인증기관 무료, 개인회원 유료
Handel`s Oratorio, Messiah has been generally perceived as a choral church music for Christmas season. Such perception, however, does not concur with Handel`s original conception for his English Oratorio as an entertainment performed at secular places during the Lent. One of the most obvious deviations from two-part Italian model is English Oratorio`s three-part construction. In addition, the three consisting parts of Handel`s Messiah reveal different structural models, respectively: the first part closely follows the constructive principle of contemporary oas sesson. with its regular recitative-arn.-chorus sequences; the second part, with its emphasi durichorus and quasi-testo tenor solo, reveals a strong influence of Gsoman Passion tradition; the shortest third part includes a denouement which clearly shows all the traits of an English Coronation Anthes aIn addition to achieving a perfect balance between the vocal solos and choruses, Messiah is a culmination of all these fertilizing models. These models reflect Handel`s career as an international composer. He began from the German soil, achieved complete assimilation of Italian tradition, and worked as a quasi-official court composer for the House of Hanover. The overall structure of the oratorio, however, was not conceived by Handel but Charles Jennens, the librettist of Messiah. Jennens`s compilation of entirely biblical extracts provides the general contour for the whole work, while Handel was responsible for the actual compositional decisions for the musical characters of each movement.
5,500원
3.
2009.12
구독 인증기관 무료, 개인회원 유료
4,300원
5.
2009.12
구독 인증기관 무료, 개인회원 유료
Scriabin`s output is often split into three periods.: Op. 1-29 (1886-1901), Op. 30-57 (1903-1908), and Op. 58-74 (1910-1914). He made a gradual transition to atonality, beginning as early as 1903. It is precisely between the second and third periods when we begin to observe a significant shift taking place in Scriabin`s way of conceiving his music. The purpose of this paper is to document the decline of tritone in Scriabin`s music primarily found in the transitional part of the composer`s musical career. While the theory was formulated by Russian music theorists, it has had a direct influence on various ways of understanding Scriabin`s complicated later works. The second chapter deals with the tritone in Scriabin`s transitional period. The most important harmonic function in Scriabin`s transitional music is a ♭Ⅱ-Ⅴ progression. The third chapter explores Scriabin`s music from the viewpoint of Russian music theory. I focus primarily on the work of three Russian theorists, namely, Yavorsky, Dernova and Kholopov, and how their works are related to the tritone of Scriabin`s music. Both Dernova and Kholopov carry over Yavorsky`s theory when discussing Scriabin`s problematic compositions, and one gets the sense. The merit of Russian music theory lies in the methodology. In particular, Scriabin`s Poeme, Op. 59, No. 1 is examined by using Russian music theorists`s views. The Russian theorists offer a new system of analysis, thereby allowing us to have an intimate and perspicuous understanding of the late Scriabin`s mechanics.
7,700원
6.
2009.12
구독 인증기관 무료, 개인회원 유료
This paper focuses on the compositional tendency of Cheng Mook Kim, who is one of the outstanding composers in Korea. He has been writing a lot of works in various genres. His early works are influenced by twelve-tone technique of Schoenberg and by proportional structure of Bartok. Earlier, they are based often on pentatonic scale and harmony. Later he used frequently the traditional Korean style in choice of instrument and titles. He has tried to combine the Western musical techniques and Korean emotions in the Eastern manner. This paper approached his works with music poetics, which become significant again in twentieth-century music. The interpretation of composer himself expands the perception of the `difficult` contemporary music.
4,500원
7.
2009.12
구독 인증기관 무료, 개인회원 유료
5,400원
