Belcanto 唱法과 판소리 唱法의 比較 硏究 : 呼吸法을 中心으로

이수진 경희대학교 대학원 1993 국내석사

중국 경극(京劇)창법과 Belcanto창법에 관한 비교 연구

장빈 삼육대학교 대학원 2016 국내석사

ABSTRACT The comparative study of the peking opera singing and western belcanto Zhang Bin Major in Vocal music Department of music Graduate School of Sahmyook University Peking opera are profound which takes root in the land of china, it has a long history and exquisite singing. for its scientific way, western belcanto have been widely studied and applied since it was introduced into china, the article is stared with how to make it better to combine with cultures of Chinese characteristics and how to enable learners to grasp the essence of belcanto better. According to the study. the author found some similarities between the peking opera singing and belcanto in the use of voice, support of breathing and resonance on collocation, but each of which has its own characteristics. such as Peking Opera singing mainly based on the different roles, different professsion, different vocal registers and resonance, it emphasizes personalities of characters While belcanto pursues the coherence and unity from top to bottom of the sound and the overall use and collocation in the proportion of resonance cavity. This article makes a attempt to compare the Peking Opera singing which belongs to the chinese traditional opera art with belcanto singing so as to explore the scientific, reasonable and effective method to promote the development of Chinese vocal music better.

Belcanto 唱法과 우리나라 唱과의 比較硏究

선영철 세종대학교 1989 국내석사

史的인 背景을 바탕으로한 Belcanto 發聲과 現代發聲의 比較硏究

조주은 檀國大學校 敎育大學院 1991 국내석사

성악도들은 누구나가 훌륭한 기교로 아름답게 노래하여 장차 유능한 성악가가 되기를 희망하고 있다. 그러나 막상 성악에 입문하여 본격적으로 노래를 배우게 되면서 올바른 발성법을 터득 하기란 좀처럼 쉬운 일이 아님을 깨닫게 되고 누구나 한번쯤은 혼란과 좌절을 경험하기 마련일 것이다. 더우기 오늘날에는 발성법에 대하여 서로 상반되는 갖가지 견해들이 주장되고 있는 실정 이어서 그들중 어느것이 올바른 방법 인지를 가려내는 일 부터가 중요한 과제가 되고 있다. 이에 본 논문에서는 이러한 갖가지 이론들에 대하여 바른 판단 능력을 키우고 자신의 발성에 대한 주관을 확립하기 위한 한가지 방법으로는 발성법의 시대적 변천과정과 이론에 대한 조사를 해 보았다. 발성법을 시대적으로 구분하여 Bel Canto발성과 현대 과학적 발성으로 兩分 하였고 문헌을 바탕으로 하여 각기 발성에 대해 형성과정과 일반원리를 중심으로 조사·비교한 결과 다음과같은 결론을 얻었다. 1 . Bel canto 발성법은 17세기 Opera의 발생과 더불어 시작되었으며 이론적인 체계를 갖추지 못한 채 경험과 口傳의 방법으로 전수되고 있었다. 2 . 19세기에 이르러 발성기관에 관한 과학적인 연구가 시작 되었고 그 연구의 결과인 발성기관의 해부학적인 구조와 기능에 대한 지식이 발성지도의 기초이론으로 채택 되면서부터 새로운 발성의 시대가 열리게 되어 현재에까지 이르고 있다. 3 .두 이론을 비교한 결과 Bel canto시대의 교사들은 발성의 과학적인 측면에 대해서는 전혀 아는 바가 없었으나 경험을 통하여 音의 생리적인 원인과 음질의 이어짐에 대해서 완벽하게 터득하고 있었고 그러한 경험적인 지식을 바탕으로하여 학생들이 당면한 문제에 확실한 치료법을 제시 해줌으로써 성공적인 성악가들을 배출 해 놓고 있다. 그러나 현대 과학적발성법을 인간의 심리적이고 감각적인 측면은 무시한채 오직 기계적인 방법으로만 신체기관을 다루려고 노력한 결과 많은 부작용을 낳고 있으며 발성기관에 대한 이론적인 지식들은 실제적인 발성 문제의 해결을 위해서는 도움이 되지 않음을 알 수 있었다. 4 . 현대의 연주가들은 현대 발성법의 당면한 문제에 대한 해결책으로 非科學的인面 즉, 心理的, 精神的, 感覺的인면이 결부되어져야 한다는 주장을 내세우고 있다. 이와같은 견지에서 볼때 우리는 古 Italia 발성법을 등한시 하기 보다는 그 장점을 살려서 현대 발성법에 결부시킴으로써 단점을 개선하고 보다 진보적인 발성법이 연구되도록 노력해야할 필요성을 느끼며 성악지도에 있어서도 이론적이고 기계적인 면을 志向하고 심리적인면을 중요시하는 지도 방법를 개발하여야 할 것이다. 또한 전문적으로 성악가를 양성할 수 있는 전문 기관의 설립 등 제도적인 면으로도 더욱 관심을 두어야 할 것 같다. Most of the vocal students wish to be competent singer in their future with fine singing technique to sing beautifuly. However, after they enter into musical study and by practicing in singing, they are facing with difficulties in proper vocalization and experiencing confusion and failure feeling at once. Moreever, in fact that there are many opinions of vocalization lately which are contradict to each others in its method and assoting proper vocalization among those opinions have been brought up as a main subject in these days. This thesis is to illustrate proper judging ability among the theories and to establish one's subjectivity in their own vocalization by researching of periodical transimissible process. By bisection periodical transimissible process of the vocalization and segregation of Bel-Canto vocaling and modern scientific vocalization based upon the literatures, and finding from the researching of forming process to common principle of the vocalization, have reached to the conclusion as follows; 1. The Bel-Canto vocalization were occured during seventeenth centry with begining of the Opera without theoretical organization and succeeded by Oral instruction to the following generation. 2. The new era of the vocalization has opened and succeeded to these days by nineteenth centry with begining of scientific research on vocal organ and adopted as basic theory of vocal instruction along with the knowledge in anatomic structure of the vocal organ which were the result of it's researching. 3. From the comparison of both theories, it appears that instructers at Bel-Canto time have no knowledge of scientific vocalization but they were fully learned through their experience for physlologic origin of the voice and combination of the tone quality, and based upon their experienced knowledge, they have faithfuly solved student's problems and have produced successful vocalists at the times. But mordern scientific vocalization has ignored psychological and sensible affairs of the human and by forcing to utilize physical organ with mechanical method. It has created many reacting problems and found that the theoretical knowledge of vocal organ is not helpful in solution of practical vocalization problems. 4. To solve existing problems in mordern vocalization, current music performers emphasizing and expressing that psychological, moral and sensible affairs(which are unti scientific) to be linked to mordern vocalization. At the view form the above, instead of neglecting old Italian vocalization, link it's merit in to the mordern vocalization to improve weak parts and effort for researching of progressive vocalization is required. On the guidance of vocalists, cease instruction of theoretic and mechanical affairs and develop important method of psychological affairs, and to establish typical institution to train vocalist and a systematic attention is demanded.

헨델의 오라토리오 <메시아>합창곡에 대한 효과적인 연주방법 연구

성미정 창원대학교 2019 국내석사

Händel(Georg Friedrich Handel, 1685-1759) was a representative composer of baroque music. His most remarkable work as leading music of Baroque period, Oratorio <The Messiah>, well expressed sincereness to God with religious music based on his inner piety. Thanks to this work, Händel established his position as an oratorio composer. Most of all, he placed a priority on chorus and the main melody of chorus. Through Händel’s oratorio <The Messiah>, we are capable of knowing music backgrounds of Baroque period, compositional techniques and development of vocal music and instrumental music as well as finding that performer started to improvise freely. Händel’s <The Messiah> is widely known and loved, composed of 3 parts. Part 1 expresses the rhythm of a piece of dance music and the termination of slow tempo in the last chorus part besides polyphony used freely in chorus as a subject based on prophecy and birth. Part 2 expresses fugue form as a subject concerning suffering and atonement, representing feature that responds to varieties of structural form such as monophony, polyphony, homophony. Part3 expresses resurrection and eternal life, showing the magnificence of the chorus as to fugue form. the lyrics were based on the Bible, particularly, part 3 was based on the New Testament, and the content of the whole lyrics is the search for the origin of God. Today, this song is performed as a chorus as a process to go through chorus conduction, which is a necessary factor for research.

G. Verdi 의 Opera <La Traviata>에 대한 분석연구 : ‘'È strano! Ah, fors'è lui'를 중심으로

한지연 창원대학교 2017 국내석사

Operas are synthetic art that is created by combining musical element with theatrical, literary, poetic, artistic, and dancing elements. Verdi is the only composer with a unique style in the era of bel canto opera and opened a new chapter of Italian operas using his unique characteristics that are based on Italian music. He blended Romantic elements with Classic and Nationalistic elements and preserved Italian traditional opera. He avoided all the empty formalities and vanity, pursued humanistic truth, and completely understood the nature of opera as a synthetic art. He composed global operas based on vocal music and his operas with the theme of strong humanistic feelings and love show a good harmony of beautiful melody and simple chord and created lyrical and dramatic effect. - 65 - Verdi, the master of 19th Italian operas, created true ‘Prima donna opera’ through the opera, <La Traviata>. ‘Prima donna’ can be called ‘the dream role’ which brings all the responsibility and glory to a soprano. <La Traviata> is a work based on the love of a couple. It has a great significance in that it emphasized dignity and equality of humans through Violeta who is given cold shoulders by the upper class and depicted the beautiful and true love that transcend class and status through the love between Violeta and Alfredo. ‘È strano! Ah, fors’è lui’ is an aria that exquisitely describes the psychological status of Violeta. It expresses her complicated mind with changing tempo, rhythm, beat, jumping notes, and melistmatic melody. It is expected that this paper will contribute to easier understanding of <La Traviata>, expressing arias as the intention of the composer, and showing singers’ best competence.