성악은 예술적 가곡의 완벽한 조화를 이루는 예술이지만, 어 린이 성악 수업에서는 노래할 때 가사의 글자 깨물기(咬字)와 글자 내뱉기(吐字)가 옳은지 아닌지의 문제에 부딪히곤 하는데, 특히 방언의 특색이 짙은 지역, 예를 들면 샹(湘)방언 구역의 어린이 성악 학습과 교학에서 이 문제가 두드러진다. 본 연구 에서는 샹(湘)방언 구역의 어린이 성악 교습에서 글자를 갈고 (咬字) 글자를 내뱉는(吐字) 문제와 관련하여 세 가지 문제를 제기하였다. 첫째는 표준어 기초의 취약이고, 둘째는 글자를 깨 물고(咬字) 글자를 내뱉는(吐字) 무의식이며, 셋째는 발성상태 가 글자를 깨물고(咬字) 글자를 내뱉는(吐字) 것과 결합되어서 는 안 된다는 것이다. 이 제기된 문제에 대한 분석 결과 세 가 지 문제점을 확인하였다. 첫째는 지역환경과 언어환경의 영향 이고, 둘째는 성악예술의 영향(薰陶) 결여이며, 셋째는 보편적 인 문제와 개인차이이다. 이에 대해 저자는 세 가지 해결 방안 을 제시하였다. 첫째는 표준어 훈련 강화이고, 둘째는 발성 상 태에서의 언어 훈련이며, 셋째는 성악 이론과 실기의 조화 강 화이다. 벽돌을 던져 옥을 끌어들이는 일종의 방언 구역의 사 례로 들 수 있는 성악 언어 교학을 통해 노래를 부르는 중 글 자를 깨물고(咬字) 글자를 내뱉는(吐字) 문제를 깊이 있게 살펴 볼 수 있었다.

This study analyzed M. Kagel(1931‐2008)’s Anagrama(1957‐58) and G. Ligeti(1923‐2006)’s Aventures(1962) to present the diversity in the creation of vocal music during the latter half of the 20th Century. The point for the analysis of music was set through the analysis of vocal music by Kagel and Ligeti when the concept of ‘sound composition’, ‘language composition’, ‘vocal composition’ and others apply, and through the pieces of the composers who lived in the same era when it comes to the changes during the latter half of the 20th Century. Among Kagel’s numerous vocal music pieces, there were not many pieces that placed the ‘emphasis of the Phonetic aspect’ at the front without text. At best, they are Phonophonie, Hallelujah für Stimmen and Die Mutation. Ligeti’s compositional tendency in vocal music is slightly different from that of Kagel’s. Ligeti’s Aventures and Nouvelles Aventures, pieces based on the synthesis of the voice originated in actual diverse languages are the vocal music pieces of the 1960s that realize experimental thinking towards ‘stage piece’ from very early on. After this piece, Ligeti did not continue on this tendency. Along with Clocks and Clouds that uses the consonants and voiced vowels, 13 each, that follow the international phonetics’ phonetic notation and the mix of these instead of the text conform with Syntactics, and other pieces that used text such as Requiem, Lux aeterna, Drei Phantasien nach Friedrich Hölderlin, Nonsense Madrigals confirm this. Analysis of Kagel’s Anagrama shows that the composer did not set music to text. Instead, it was shown clearly that it was handled musically regardless of the contents of the text. Besides the conclusion that non‐semantics was realized or that another meaning was formed compared to the Latin phrase that serves as the basis of this piece, it includes the contents that could lead to yet another conclusion. Not only was basic Latin text used as Phonetic material, but it is possible to verify the conclusion that it embraces the meaning of linking to drama through analysis. Analysis of the Aventures composed of the Phonetic text that Ligeti himself explained in person according to E. Dieth and H. F. Wendt’s pronunciation presents diverse methods that can be defined as ‘vocal composition’ and verified the matters concerning ‘toning of the voice’(tone melody). Moreover, ‘musical gestures’ (crying, laughing, whispering, yelling, sigh and others) presented directly on the music note can be re‐appreciated with the opera‐like parody or caricature expression.