<랩소디 인 블루>에 대한 리코더의 연주 기법 적용

진슬기 경북대학교 교육대학원 2014 국내석사

(Abstract) This study aims to raise students’ awareness about a variety of musical concepts and change the way they understand a musical instrument, recorder by searching a range of recorder performing techniques with George Gershwin’s ‘Rhapsody in Blue’, which is familiar to students, and examining how to apply the song to playing the recorder. Recorder is most widely used for instrumental music education in schools because it is cheap and easy to learn compared to other instruments. Although, with the increasing recorder use in schools, there have been publishing recorder related materials such as course books, scores and papers about the instrument, effective recorder lessons are not practically carried out in music classes because of several reasons: insufficient explanations about a recorder, uninteresting tunes included in music textbooks and recorder-related theses with undiversified contents or subject. Thus, this thesis presents varied recorder performing techniques and how to apply those to actual playing the recorders with well-known song “Rhapsody in Blue” as a musical piece, which may arouse student’s interest and can show musical elements and concepts involved in music education curriculum: rhythm, melody, chord, dynamics, tempo and tone. As a method of study, I have studied musical factors and used to play the recorder respectively for a better performance of Stan Davis’s “Little Rhapsody in Blue”, which is arranged for Recorder Quartet as a musical piece. At first, in a research of the musical factors, I analyzed melody, blue note, rhythm, fine, orchestration and harmonic rhythm shown in “Little Rhapsody in Blue” on the basis of musical factors which are involved in a national curriculum and should be acquired by middle-school students in music class. And then, I studied various performing techniques of Recorder : tonguing, articulation, crescendo, decrescendo, dynamics, grace note and glissando, to make students learn these techniques more easily on the basis of my accumulated recorder teaching experiences for several years. The results of this study present that understanding the musical concepts and acquiring the recorder techniques would be a great help to play the “Little Rhapsody in Blue”. This thesis may help people who play “Little Rhapsody in Blue” to comprehend the musical factors and recorder techniques and to improve their recorder performances. I hope that this thesis will give people opportunities to realize the advantages of recorder and its artistic merit. Furthermore, I suggest that the advent of new methodology for recorder lesson and additional studies over utilization of recorder in chamber concert will be made in the near future.

소프트웨어 신디사이저를 활용한 사운드, 음악 연구 (NI사의 Massive를 중심으로)

박지수 경북대학교 대학원 2022 국내석사

In this paper, software synthesizers were explored centering on NI's Massive, sound and music were studied accordingly through the docking scene of the movie Interstellar. In the basic structure of a synthesizer that follows the sequence of oscillator, filter, and amplifier, Massive is a side chain that uses macro control and modulation pages between these sequences, allowing various and detailed settings, and is effective in creating metallic sound. Among the ring modulation and envelope stages, the sustain morphing that can be modulated in the sustain situation and the performer that can change every moment are the biggest characteristics of Massive. Using the representative functions of a software synthesizer and the characteristic functions of Massive, it was produced by classifying it into the sound just before the accident of Ranger 2, the sound expressing outer space, and the urgent sound preparing for docking. In the sound just before the Ranger 2 accident, a sawtooth wave applied with the Lowpass4 filter effect with rich overtones was used as an expression suggesting Dr. Mann's unreasonable behavior. showed a sense of space. In the sound of expressing space, randomized performers and LFO were used as modulation sources because they did not know what would happen around the modulation mode of the modular oscillator and white noise of the noise generator to express empty and cold space. To express Cooper's tense mind in the tense sound of docking preparation, we chose Math II, which was transformed from a harmonic wave provided by Massive, a kind of low pass filter, to increase the value of resonance, which had a dramatic effect on the overall preparation for docking in the scene. As a result, sound creation using a software synthesizer can sufficiently express the user's intention with free tone transformation and settings such as pitch and sound length, and the sound created in this way forms a music-like environment created in a MIDI environment, giving a sense of unity throughout video music. In addition to the cost of purchasing a software synthesizer, it also has the advantage of reducing other existing costs of sound production. In addition, in this paper, since it was created using only NI's Massive, it is somewhat unreasonable to view it as a representative use and research method of software synthesizers. However, the mashib contains the general structure and function of the software synthesizer, which is in the same direction as the use of the software synthesizer studied in this paper. Through this paper, we hope that the use of software synthesizers will be actively carried out from the perspective of sound and music creation, and it will help users produce their own creative and characteristic sounds different from the existing preset.

Bela Bartok의 String quartet No.5 분석연구

이다은 경북대학교 대학원 2018 국내석사

Bela Bartok(헝가리 1991-1945)은 20세기 중요한 작곡가 중 한 사람이다. 그는 전통기법에 현대의 기법을 더하여 자신만의 음악어법을 추구했고 그 결과 그의 음악은 기능음악과 20세기 화성의 개념을 조화롭게 융합시키는데 성공했다. 바르톡이 남긴 많은 실내악 곡 중 6개의 현악4중주곡은 1908년부터 1945년사이에 쓴 작품으로 제 1번은 헝가리 민요를 기초로 베토벤의 영향을 받았고 제2번은(1917년)은 낭만주의의 색채를 띤다. 제 3번(1927년)곡과 제 4번은(1928년) 현악기의 여러 가지 특수연주법을 사용하거나 약음기를 이용하여 전통에서 벗어난 새로운 현악기의 음향을 바탕으로 무조적 불협화 요소를 띠는 것에 반해 본 논문에서 분석 할 제 5번은 바르톡의 작곡기법 중 황금분할을 적용한 음계와 배음열 음계를 합한 반음계를 사용하여 작곡되었다. 본 논문에서는 먼저 바르톡의 대표적인 작곡기법에 대해 알아보고. 현악4중주 제5번에서 그의 작곡기법들이 어떻게 적용되었는지 각 악장별 분석을 통해 알아보고자 한다. 각 악장의 형식과 동기의 특징을 살펴보고 이를 토대로 본 작품의 형식, 발전방법, 음조직과 중심음의 이동을 분석하여 바르톡의 작품에 나타나는 전통적, 현대적 요소에 대해 연구할 것이다. Bela Bartok is considered one of the most important composers of the 20th century. The sound of music in the 20th century: the breakdown of the diatonic system of harmony. Bartók's music reflects that in his search for new forms of tonality from Classic expression he became influential in that stream of modernism which exploited folk music and techniques. Bartók’s six string quartets were influenced by Classical tradition. The first quartet (1908) shows few traces of folk influence. Bartók’s stylistic development is in the second quartet (1915–17) in the third (1927) and fourth (1928) there is a more intensive use of dissonance; and in the fifth (1934) and sixth (1939) there is a traditional tonality. The Fifth String Quartet of Bela Bartok is in five movements; 1Allegro,2Adagio molto,3Scherzo, 4Andante, 5Finale: Allegro vivace, the piece is in an arch form. The first movement, which is in a sort of sonata form, is given in reverse order during the recapitulation. The middle movements are all from traditional form is in of folk music. The last movement is again arch, it as being in the form ABCB'A' with a coda. The purpose of this paper is introduce the application of techniques in a detailed analysis of the Fifth String Quartet of Bela Bartok. The method of analysis used in this paper is based on the analytical techniques of Erne Lendvai.

영화음악으로 활용된 Arvo Pärt의 <Spiegel im Spiegel>에 대한 연구

이숙현 경북대학교 대학원 2021 국내석사

This paper aims to examine the musical characteristics and value of Arvo Pärt’s <Spiegel im spiegel> which has been used in many films, though it was not composed as film music. It initially tried to understand and describe Arvo Pärt’s life time by dividing it into the early, the middel and the latter period, depending on changes in the compositional style he had used. In particular, it elaborated the background from which Tintinnabuli, the technique used to compose <Spiegel im spiegel>, was created, as well as the charcteristics and principle of it. The Tintinnabuli inspired by reverberations of a bell, which consists of M-Voice(Melody-Voice) and T-Voice(Triad-Voice), invokes a unique color and mood with an appropriate combination between two voices. A lot of pieces composed with Tintinnabuli, including <Fur Alina>(1976), <Cantus in Memory of Benjamin Britten>(1977), <Fratres>(1977), <Spigel im spiegel>(1978), etc. were, therefore, used as background music for various films. This paper investigated and discussed the Tintinnabuli shown in <Spiegel im spiegel> Pärt composed in 1978, by referencing to the trailers of <Gravity>(2013), <About Time>(2013) and <Gerry>(2002), as well as interpretations on the relations between scenes and music, from the narrative perspective. By suggesting musical interpretations from the perspective of convergence art combining images with music, it is examined to contribute to the future direction of music in art combined with various media.

오페라≪청라언덕≫과 가곡≪동무생각≫의 음악적 상호텍스트성과 내러티브 연구

김성재 경북대학교 대학원 2021 국내박사

내러티브 혹은 서사란 특정한 스토리를 매체를 통해 전달하는 일련의 방식이나 행위를 일컫는다. 내러티브를 위한 서사적인 장르들 또한 미메시스라는 측면에서 상호텍스트성을 가지는 것이 사실이지만 서사적 연관성이 불분명한 서정시나, 그림, 음악 혹은 몸짓과 심지어 표정과 같은 예술 전반적인 영역에 내러티브가 존재한다고 할 수 있다. 이와 같은 내러티브의 보편성은 지각본능인 ‘앎’과 정보화 과정이 인간사고의 중심에 있기 때문이라고 학자들은 설명한다. 이런 맥락에서 필자는 음악에도 내러티브와 음악적 상호텍스트성이 존재한다는 것을 구체적 작품에서 연구하고자 하였다. 음악적 사건 혹은 문화적 의미를 지닌 음악적 제스처를 토픽(Topics)으로 자신의 음악에 구체화시킨 작곡자의 의도가 작품에 살아 숨 쉬고 있고 그 의미를 알고자 하는 청중과 주관적으로 재구성하려는 연주자가 음악을 내러티브로 읽어내려고 한다는 점이 그 출발점이 된다. 음악적 내러티브의 연구는 우선 음악적 토픽(Topics)을 위한 관습적인 성격적 음형(Characteristic Figures)의 분류와 토픽의 해석과 계발, 그리고 해석의 근거를 위한 방법론적인 측면, 이를테면 선율이 나타내는 것이 묘사적인가, 아니면 단지 음들의 구성에 의한 것인가와 같은 기호학적(Semiology)접근과 작곡가가 평소 좋아했던 작곡가, 작곡 당시의 배경, 초연 당시의 저작물이나 작품과 연관된 인물과 같은 상호 텍스트성에 대한 연구와 같은 다양한 양상으로 분화하기에 이르렀다. 본 논문의 연구 대상인 오페라 ≪청라언덕≫은 2012년 대구국제오페라축제의 개막공연을 위해 공모전을 거쳐 최종 당선된 작품이다. 이 작품의 작곡자였던 필자는 오페라의 고유한 성격과 음악적 특징을 가곡 ≪동무생각≫과의 음악적 상호텍스트성에서 찾으려 하였으며 그 결과 다음과 같은 결론을 얻게 되었다. 첫째, 오페라 ≪청라언덕≫의 전체적인 4막 구조가 가곡 ≪동무생각≫의 1절로부터 4절이 제시한 내러티브와 일치하는 구조적 상호텍스트성을 이룬다는 점이다. 오페라 ≪청라언덕≫의 제1막은 ≪동무생각≫의 1절 ‘봄(만남과 사랑)’, 제2막은 2절 ‘여름(이별)’, 제3막은 3절 ‘가을(죽음)’ 제4막은 4절 ‘겨울(레퀴엠, 다시 봄)의 구조를 나타낼 수 있도록 ≪동무생각≫가사 속의 내러티브를 상호텍스트적으로 활용하였다는 점이다. 둘째, 이러한 구조적 상호텍스트성은 가곡 ≪동무생각≫의 음악적 제스처가 오페라 ≪청라언덕≫ 각막의 중심토픽을 위해 인용되어 여러 제스처로 변형, 발전하는 음악적 제스처의 상호텍스트성을 이룬다는 점이다. 이런 맥락에서 ≪동무생각≫의 음악적 제스처가 나타내는 토픽을 분석하여 오페라에서 각막의 중심토픽과 극적 진행에 부합하도록 주제작업을 하였다. 본론에서 거론된 바와 같이 오페라 ≪청라언덕≫의 음악적 제스처가 가곡 ≪동무생각≫의 제스처 ⓐ, ⓑ, ⓒ 로부터 구체적으로 인용(Quotation)된 후 각 막의 토픽을 위해 재구성되었으며 제스처 ⓐ의 전위(Inversion)에 의한 복선적 암시가 서곡으로부터 3막까지의 음악에 광범위하게 나타나 음악적 내러티브의 연속성을 이루게 된 점이 뚜렷한 특징이라고 말할 수 있다. 셋째, 이러한 가곡 ≪동무생각≫의 구조적, 음악적 제스처가 오페라 ≪청라언덕≫에서 한층 더 폭넓게 나타나 1920년대와 2012년의 두 시대적 공감을 일으키는 정서적 상호텍스트성을 이루고 있다는 점이다. 짧은 스토리를 들려주는 가곡 ≪동무생각≫의 음악적 제스처는 오페라 ≪청라언덕≫의 작곡 과정에서 새로운 차원의 다양한 제스처로 나타나 가곡에서 들려줄 수 없는 대목과 사건에 대하여 음악적으로 적절히 재구성되었는데, 이러한 의미생성과정에서 발생텍스트로서의 가곡 ≪동무생각≫이 현상텍스트인 오페라 ≪청라언덕≫의 음악적 심층에서 끊임없이 작용하여 청중들이 가곡 ≪동무생각≫을 심연에서 느끼도록 하며 동시에 새로운 음악적 텍스트로 재구성된 오페라를 향유하게 하는 동시성을 가진다. 이러한 상호텍스트성의 본질은 무한성을 나타내며 오페라 ≪청라언덕≫이 가곡 ≪동무생각≫의 텍스트위에 형성된 또 하나의 ‘동무생각’ 임을 말해주고 있다. 이렇듯 오페라 ≪청라언덕≫은 가곡 ≪동무생각≫과 긴밀한 상호텍스트성을 가지며 한 무대공간에서 여러 세대를 소통케 하는 문화예술적 융합을 이룬다. 끝으로 상호텍스트성을 기반으로 한 본 소고의 연구를 통해 어떠한 텍스트일지라도 선행된 텍스트와 연관된다는 결론을 얻었다. 이와 같은 상호텍스트성의 이해는 한층 더 풍부한 창작적 사고는 물론 문화적 소통과 공감의 예술적 안목을 자극할 것이라 보며, 더욱 다양한 방법으로 접근하여 연구되어야 할 부분으로 생각된다. 그런 의미에서 본 논문이 새로운 아이디어를 찾으려는 작곡가들에게 자극이 되기를 기대해본다.

남 수단 청소년들의 변화를 통한 이태석 신부의 음악교육활동의 교육적 의미에 관한 고찰

성은진 경북대학교 교육대학원 2013 국내석사

(Abstract) KBS1 TV documentary “Schweitzer of Sudan the late the Father, Tae-Seok Lee : Do not Cry Tonj" named KBS Special was aired in April 2010. Born and raised in Bu-San the Father, Tae-Seok Lee entered the medical school as his mother’s hope and dreamed of a life of a doctor. However, after graduating from medical school, he decided to become a Catholic priest, and then applied re-admission to the Gwang-Ju Catholic University to be a priesthood.  Mission for the purpose of being appointed to Tonj, South Sudan, Africa began his African life. He was going to South Sudan mission was the main objective. However, after faced the terrible reality of environment of children, educational activity for children was first started. Other medical practice, he, in a variety of fields, including environmental improvement activities for people to volunteer unfolded. After he started educational activity for children, the medical activities, including educational activities, environmental improvement activities for people in a variety of fields, including service conducts.  He visited Korea 2010 for vacation was sentenced to colorectal cancer in a journey. Until the adenomas, for eight years that were made in Tonj, educational significance of his music education activities were studied. Through his music education for young people of South Sudan to analyze the impact of young people were shown the results of the changes. * A thesis submitted to the Council of the Graduate School of Kyungpook National University in partial fulfillment of the requirements for the degree of Master of Education in June, 2013. There are two things in Sudan we can not see in Korea. One of them is so much countless stars pouring right away in the sky, and then the other of them is transparent and pure eyes of children's. When I watch children's eyes, I can feel something coming out in my mind as exclamations(Tae-Seok Lee, 2009: 104).  Schools do not have all day for young people loitering the streets locked in war-torn school buildings rebuilt. Exhausted by the wounds of war to heal the wounds of the children in the camp, in a good way and taught guitar and organ. After that, the music lessons with instrument lessons learned giving joy and hope to the children. In addition to guitar and organ class, clarinet, trombone, tuba and teaching instruments, The Father, Tae-Seok Lee amazed fast learning ability of children and he was felt confident to the effects of music education . After four years, since starting the music classes, thirty-five students was formed consisting of a brass band. Emotional and mental change of the children was enormous through these music classes. The child usually didn't well to laugh, after beating organ, he began to laugh. Children who never learned music could ensemble successfully as well as playing a musical instrument, For they made beautiful music that sounds impressed, they shed footloose tears. One student said in a voice full of emotion to the Father, Tae-Seok Lee wiping his shed tears. Father, I want to make a musical instrument by melting guns and weapons. I hope to resonate the sound of music instead of gunfire in Tonj so much(Tae-Seok Lee, 2009: 38). This changes of feelings of the students through music activity is illustrated in these sentences. Aesthetic experience through music performance is well represented how healed sentiments of the youth who hurt and devastated by war.

Leoš Janáček의 <Violin Sonata> 분석 연구

박민 경북대학교 대학원 2023 국내석사

In this paper, focused on the nationalist tendency of Janáček, I study his compositional tendencies and compositional techniques. Janáček was a Czech composer, and the composers of the late 19th century showed nationalist music that contained the national characteristics of their country in their songs. Among them, through Violin Sonata, a later work of Janáček, I investigated the characteristics of his music and found musical ideas. Janáček's Violin Sonata consists of a total of 4 movements, and each movement has his musical characteristics. First, I could see the motive of the song used from Janáček's tendency to realism. He collected and studied everyday sounds, and based on them, he composed and applied them to music. Second, in the form of the song, it showed a different composition from previous composers. He showed his individuality by composing with his own new composition rather than the form that existed in the previous era. Third is the variety of beats. Influenced by Moravian folk music and language, he applied them to music. In one song, the tempo changes in various ways, and the standard notes are displayed differently on both hands of the piano that is being played at the same time. Through this analysis, it was possible to know about Janáček's nationalist tendencies and his compositional techniques applied to his works. While having a traditional musical form, he expressed his own musical ideas and individuality in the songs.

만 3세까지의 유아를 위한 놀이중심의 조기음악교육에 대한 연구

허진아 경북대학교 교육대학원 2014 국내석사

본 논문은 만 3세까지의 유아를 위한 놀이중심의 조기음악교육에 대해서 연구한 것으로서, 다른 어떤 시기보다 성장과 발달이 가장 급속히 이루어지는 시기인 만 3세까지의 교육의 중요성을 여러 음악교육학자들의 견해와 과학적 자료, 연구자의 경험을 토대로 제시하였다. 만 3세까지 유아에게 놀이 중심의 음악교육은 유아가 성장하면서 음악을 자연스럽게 느끼고 흥미를 가지게 해 주어 음악을 통해 행복함과 만족감을 얻어 삶을 더 풍요롭게 해주는 이점을 얻을 수 있기 때문에 그 중요성을 고찰하였다. 또한 연구자의 자녀를 실제로 문화센터의 수업에 참여시키고, 가정에서 음악적 분위기를 조성하여 얻게 된 결과를 토대로 유아의 음악적 능력 발달과 그로인해 나타나는 다양한 영역 발달에 미치는 영향에 대해 알아보았다. 특히 유아기의 특성들은 다양하고 급속도로 변하기 때문에, 이러한 특성의 이해는 영유아에게 효과적인 조기음악교육방법에 중요한 단서를 제공해 준다. 그래서 본 연구의 본론에서는 먼저, 영유아기에 나타나는 일반적인 특성의 고찰을 통해 각 시기마다 나타나는 유아의 음악적 기능 및 능력 발달에 대해 알아보았다. 두 번째로, 조기음악교육의 올바른 이해와 필요성에 관해 뒷받침 해주는 음악교육학자들의 교육가치관에 대해 살펴보고 이를 토대로 조기 음악교육에 대한 가치와 중요성을 알아보았다. 세 번째로, 효과적인 조기음악교육을 위한 방안으로, 유아의 성장 발달 과정에 따라 유아가 적극적으로 참여하는 가운데 흥미를 유발하고 자신의 감정을 창의적으로 표현할 수 있는 조기음악교육 방법을 연구자의 실제 경험을 바탕으로 각 연령별로 제시해 보았다. 끝으로, 이 논문이 만 3세까지 유아의 음악교육의 중요성을 깨달아 보다 체계적이고 올바른 음악교육환경을 제공하여 유아의 음악적 잠재력뿐만 아니라 다른 영역의 발달의 도모하는데 도움이 되기를 바란다. This research conducted a study on the play-based early music education for children, especially under 3 years old. This study suggests the importance of the early education during the first three years, which is the period of rapid growth and development. The suggestions are based on the opinions of many musicologists, scientific data, and researcher's personal experience. The play-based music education for the children under 3 helps the babies to get familiar to and interested in music; they would enjoy a better quality of life with happiness and satisfaction from music. Therefore, this research considered the importance of the play-based music education for the children under 3 years old. Moreover, the researcher's children also participated in community center program, and the researcher made a musical atmosphere at home. From this, the researcher observed the children's development of the musical ability and the development's effect on various areas' development. Because the characteristics of infancy are various and rapidly changeable, understanding these characteristics suggests significant clue for effective method of the early-childhood music education. Therefore the body part of this study, first, deals with toddlers' musical function and ability development in each stage through a consideration of general characteristics in early childhood. Secondly, the importance and worth of the early music education are inquired, examining the educational views of musicologists which support the proper understanding and necessity of early-childhood music education. Third, for the effective early - childhood music education, this research proposes some early music teaching methods - based on the researcher's actual experience - for each age group, which arouses children's interest by their active participation along children's development. In conclusion, The researcher hope that this study would help to provide more methodical and proper music educational environment and would develop not only children's musical potentiality but also other abilities, by realizing the importance of the music education for children under three years old.

2009 개정 교육과정의 다문화 음악교육 방안 연구 : 아프리카 민요 중심으로

김리나 경북대학교 교육대학원 2014 국내석사

Tendency of globalization in the 21st century reflects low birth rate, an elderly population, and especially a multicultural society. Since the 1990 the number of the marriage immigrants, Chinese to Korean, and foreign workers has increased – and last year the alien population exceeded 1,500,000. Korea is no longer a homogenous country, but a multicultural society. Thus, the education of music just like the other subjects must put in an effort to find educational balance within our multicultural society and also increase the understanding of diversity by covering various folk songs from different countries. This research is to propose the teaching-learning method that is suitable for the multicultural society through analyzing music pieces that are included in middle school music textbooks. The first step of the research was to define the concept of multicultural education, multicultural education in music, and finally the history of those educations by theoretically interpreting a variety of related papers and references. As the next step, the analysis of these international folk songs that contain multicultural elements was conducted from eight music textbooks approved by ministry of education which were written as a result of 2009 revised of curriculum. The finding is that the songs from Europe and America are dominating over those from the other regions. The multicultural society like today requires more education on unpopular regions rather than already well-known cultures like Europe and America. Unfortunately the reality is that the contents of the current textbooks do not satisfy the need of the multicultural education of the music. Relatively speaking, the number of the songs from Africa and Oceania is unpopular to those from Europe and America. Also, the learning is too much focused on vocal practices rather than understanding cultural backgrounds. The findings from studying ““Kye kye ku le,”” the only Ghanaian song found in textbooks, in the perspective of multicultural education follows. Firstly, the distribution of folk songs inside the eight music textbooks approved by ministry of education in terms of continents, countries, and music types was researched. 14.2% of the total 1,164 songs, or 165 songs, are international folk songs which were unequally distributed to 34.5% European songs, 27.3% American songs, 23.6% Asian songs, 10.3% African songs, and 4.2% Oceania songs. Secondly, additional research was conducted on the cultural and musical characteristics of relatively unpopular African singing repertories rather than well-known European or American pieces. Finally, the teaching and learning methods for the multicultural music education was researched to cover the areas of expression, appreciation, and application with an effort to correct the tendency of the textbooks that give too much importance on vocal practice. The proposed education follows three major steps – singing and listening as the first step, memorization and physical expression as the second step, and creativity and application to living as the third step. Students will be able to grasp better understandings about the songs by experiencing various activities such as physically expressing one’s feelings, playing the instruments, and playing around with different rhythms. In order to keep up with a continuously changing multicultural society and increased importance of multicultural education, the teaching method also needs to be revised to avoid unequal distribution of the learning contents. This research is to help for better construction of the multicultural music education system under the 2009 revised of curriculum.

Dmitri Shostakovich의 「Sonata for Viola and Piano Op.147」 에 대한 분석 연구

남혜미 경북대학교 대학원 2023 국내석사

This thesis has studied Dmitri Shostakovich's inside and the musical grammar as analyzing his last work “Sonata for Viola and Piano Op.147”. This pieces are composed of 3 movements and have neoclassical music style. The form of the piece follows the classical form, but the composition, harmony, and tone appear to be modern elements that try to be chromatic beyond the traditional functional harmony. Although it is not the typical traditional tonality, you can see the classical music which the notes of the beginning and the end are composed the same, and the melody is also easy to be understood for the public by the influence of socialism and using a simple melody. The perfect 5th, minor 2nd, major 2nd and pedal points have consistency and unity as featuring of the entire this pieces. Usually figure Development has sequence and imitational progress and its featuring is that melody parts are crossed and to be imitative contrapuntal progress. Repeated progression has changes using the expansion of the rhythm, the tone and the harmony and the inversion of the melody, and changing meters. The music progression indicating traditional vertical harmonic progress and horizontal contrapuntal baroque progress was used in contrast as the progression form. Harmony is developed for change of central note and indicate mixed major·minor harmony and polychord. The 3rd movements, the last movements, He express his respect for him as borrowing Beethoven's “Piano Sonata Op.27-2 Moonlight” and identified the desperate emotion which Beethoven tried to express. Shostakovich's "Sonata for Viola and Piano Op.147” is properly combined with traditional techniques and contemporary techniques featuring neoclassical music style. As it is the last work he wrote with a foreshadowing of death, the musical characteristics he wanted to express appear as a whole. In addition, the noble spirit that constantly tried to write his own works while living a painful life with the socialist system is presented as the spirit of composers that we should have.