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
제14권 (2007년 12월) 7건
1.
2007.12
구독 인증기관 무료, 개인회원 유료
Whereas the composition exists generally in written musical notation, the improvisation is caused by spontaneous process of making music with unfixed notes or without any notation. There is no doubt that the earlier the age was, the less notation system was developed and improvisation was practiced more. Ancient music historically covers the music from the invention of letters until the medieval times and regionally the music from Mesopotamia, Egypt, Israel and Greece. The music of each region had different musical characteristics but the tendency of improvisation was common according to the historical reconstruction. It would be well-matched for the brilliant lyre with a bull head from Mesopotamia to accompany the Epic of Gilgamesh. It is difficult to reconstruct the ancient Egypt music because the text material of the music is insufficient. The reconstructed instrument could bring the sound of the instrument and it often makes the pseudo-music, which comes from the imagination of composers or scholars. Many improvised Israelite songs are orally transmitted. One of the famous examples is Schema Israel, which reflects their religious confession. In comparison to other ancient musics, the ancient Greek music remains the most generous archeological evidence. The reconstruction of the ancient Greek music depends on the systematical system but it is performed in improvised style as well.
4,300원
3.
2007.12
구독 인증기관 무료, 개인회원 유료
5,700원
4.
2007.12
구독 인증기관 무료, 개인회원 유료
If we define improvisation in the Middle Ages as "not noted playing method," we will find clearly their root first in neumas. The decoration neumas Quilisma, Oriscus, Pressus, Salicus, Strophicus and Caphalicus shows different ornaments, which are not to be found no more in the later age. This phenomenon shows a possibility that the not noted playing method in music history was attended. In the case of the Fauxbourdons the are highest voice, which is the Cantus Firmus, and the lowest voice, which runs exactly sixth or octave down, are noted, but the middle voice, which shows a fourth parallel, does not note, but of player supplements. As many think, this middle voice does not stand for 1:1 to the other voices, but those show surprisingly substantial ornaments. The highest development of ``not noted playing method`` is the art of the Diminutio in later Renaissance. The Diminutio means to divide the long note into smaller ornamented notes. It is mentioned in a document first in the year 1552 by Adrian Petit Coclico`s ``Compendium musices`` erw ae, afterwards Hermann Finck`s Practica Musica, Lodovico Zacconi`s Prattica di musica, Giulio Caccini`s Le Nuove Musiche, Giovanni Bassano`s "Motetti, Madrigali et Canzoni francese," Michael Praetorius`s Syntagma musicum III, as the latter in the year 1643 Christoph Bernhard`s Musica Practica. That is approx 100 years continuing ``not noted playing method`` in music history. The improvisation in Middle age and Renaissance begins in decoration neumas in monophonic music, developed than ornament art in Fauxbourdon, than highest development continues to show it in Diminutio.
6,700원
5.
2007.12
구독 인증기관 무료, 개인회원 유료
This treatise`s main point is to investigate the strategies of the developmental teaching and learning which are valid in the Danso-class of elementary school. Danso has been appointed as a musical instrument to be played in the class of elementary school since the fifth process of the educational course. Although 20 years has passed since then, however, this course is still considered very difficult to follow by most of the students and teachers who should be educated at least more than two times. It is my understanding, therefore, that we should try to develop various ways of solutions that can resolve many problems in Danso course of elementary school by providing the ``universal`` orientation for teachers. The point that we pay attention to in this treatise is that I apply the tonic solfa according to the movable-do system of Kodaly partially in order to improve the unsatisfactory circumstances of the Danso class of elementary school. His method provides us with very efficient means in learning syllable names and reading musical notes in Korean traditional music. In this study, we will see the strategies of the developmental teaching and learning in the Danso-class of elementary school according to the six levels.
6,700원
6.
2007.12
구독 인증기관 무료, 개인회원 유료
Korean music educators have wondered when they face with many non-music major university students. The fields of music deal with many areas: performance, music apprehension, music history, music therapy, and music theory, etc. Lecturers have no time to teach such vast areas of musical fields in one semester. Thus a questionnaire regarding non music major students` musical experiences has been provided to 315 students in two universities. The X2 shows us the differences between female and male students` preferences for music. Many students had little experienced in systematic learning for music in their previous schools. Beside regular music courses provided by the previous schools, most of Korean students` music related experiences are limited to play the piano in their childhood. This tendency occurs more frequent to female students than male, since female students had more an experience to play instruments than male students in their childhood. Piano is the most favorite instrument to girls, violins and flutes are the next favoured. Some of their musical activities were largely related to church activities. Other results show that most of male students had little experience to read music score and tend to buy more music CDs than female students. The reason why male students tend to buy some more CDs than female students is maybe caused by their lack of musical backgrounds in high school years through the specific Korean educational circumstances. Most of students prefer listening more instrumental music than vocal music. While female students played the piano, male students had more experience to play the guitar, etc.
5,400원
7.
2007.12
구독 인증기관 무료, 개인회원 유료
The aim of this study is to achieve a better theoretical comprehension of the 16th century music. The "modal theory" is a problematic term of Renaissance discourse about music. The 16th-century modal theory drew upon and was synthesized with diverse theoretical traditions. The aspects of modal theory that are most directly concerned with a tonal structure are discussions of modes and counterpoint. In this vein, a mode is not only a music-theoretical construct, an inherited category in a fixed set of categories, but also a tonal type in 16th century music that forms a music-analytical construct. Many changes in modal thought resulted in tensions that are reflected in 16th century theoretical writing, musical composition, and editorial practice. A general trend in 16th-century printed collections was from less tonal ordering to more, and the organization of cyclic sets became more and more common according to modal schemes as the century went on. It is important that major composers of the second half of the century adopted the old system of 8 modes. It centers round the compositions and theoretical writings of Gioseffo Zarlino (1517-90), the most famous theorist of the 16th century. Zarlino adopted Glarean`s nomenclature, including the aeolian and ionian modes. Thus, motet, "Ego veni in hortum meum"-which Zarlino had composed a representation of mode 5 in Canticum Canticorum (1540), labeled as ionian in his 1549 motet print, and mode 11 in the 1558 edition of Le istitutioni harmoniche, and mode 1 in the Dimonstrationi harmoniche (1571). This is a fair representation of multi-faceted situation that held away from the 1570s well into the 17th century. A particular 16th century tonal type has evolved into a particular 17th- century and 18th-century tonality.
6,600원
