Antonin Dvorak의 「Biblische Lieder Op.99」에 대한 분석 연구

정수진 전남대학교 대학원 2002 국내석사

Antonin Dvorak(1841-1904)은 체코의 민족주의 음악가의 대표자 중 한 사람으로서 교향곡을 비롯하여 기악곡, 성악곡 등 많은 걸작을 남겼는데 그 중에서도 약 100여곡에 달하는 성악곡은 애국애족의 정신을 슬라브적 선율로 잘 표현하고 있다고 하겠다. Dvorak은 Schubert(1979-1828)와 비견되는 다작의 작곡가였다. 그는 평생 겸허한 인격의 소유자였으며 그의 창작능력은 자신의 예술발전에 결정적인 진로가 되었던 대자연과 내적인 종교성에서 우러나온 것이었다. 그의 창작기반은 객관적으로 볼 때 보헤미아의 민속무곡을 훌륭하게 예술화시키는 방법을 택하였다. 특히 연가곡 「성서의 노래(Biblische Lieder)」는 전부 10곡이며 모두가 성서의 시편에서 가사를 택하고 있다. 채택한 가사는 Dvorak이 체험한 삶의 문제들을 해결해주는 신앙을 바탕으로 한 하나님의 우주적인 왕권이신 구원에 촛점을 맞추었다. 이 곡은 신앙이 깊은 사람이었던 Dvorak의 종교 음악중 독창곡으로서는 대표적인 작품으로 꼽힌다. Dvorak의 53세때 미국에서 작곡된 「성서의 노래」는 선율적인 아름다움을 갖고 있으나 그 선율은 다양한 리듬위에 낭송적인 움직임도 들어 있어서 대단히 감동적이며 내면적인 중후함과 간결한 표현에 있어서 대표적인 성가적 작품이다. 이 연구는 후기 낭만주의 시대에 이른바 국민주의 악파로서 활동하였던 Czech의 작곡가 Antonin Dvorak의 작품 99연가곡집 「성서의 노래(Biblische Lieder)」의 배경과 작품 등을 포함한 작품분석을 통하여 이 곡을 연주하려는 성악가들에게 실제적 도움을 주고자 한다. Antonin Dvorak(1841-1904) who was one of representives of racialism musician composed a lot of masterpiece at symphony, instrumental music, and vocal music. Especially, about 100 vocal musics were said for patriotic sentiment to be described by slavic tune. Dvorak was prolific composer, standing comparison with Schubert(1979-1828) he was modest in his whole life. His creative ability originated from Mother Nature and intrinsic religionship. His creative power based on converting Bohemian folk dance music to art. Biblische Lieder were taken words from the Book of Psalms and composed of 10 songs. The text from the Psalms of the Old Testament is focused on the salvation of Supreme God, and the composition also is represented the praise of His mercy and power. These songs are representative solo songs among the religious music composed by Dvorak. Dvorak wrote these songs during stay in America when he was 53years old. These songs have melodious beauty, but the melody also have recitable components based on various rhythms so that they give us deep impression as spiritual songs. I analyzed the background and the style of the Biblische Lieder - the 99th work of Antonin Dvorak who was a Czech composer known as a so-called nationalistic musician in post-romanticism period. This study was carried out to give a practical aid to the vocalists who want to play these songs.

Antonin Dvorak의 연가곡 「Liebeslieder Op.83」 에 대한 연구

여신혜 이화여자대학교 대학원 2002 국내석사

안토닌 드보르작(Antonin Dvorak 1841-1904)은 19세기말 민족주의 음악가의 한 사람으로 보헤미아 국민음악을 완성한 작곡가이다. 그는 교화음악을 비롯하여 기악곡, 성악곡, 교향곡, 실내악곡 등 많은 작품을 남겼으며, 그 중 100여곡에 이르는 성악곡은 그의 경건한 신앙과 조국애를 잘 표현하고 있다. 드보르작이 남긴 여러 작품들 가운데 연가곡집 「사랑의 노래」(Liebeslieder op.83 1888), 「성서의 노래」(Biblischelieder op.99 1894), 「집시의 노래」(Zigunermelodien op.55 1880)는 특해 주목할 만한 것이다. 그 중 본 논문에서 연구되어질 「사랑의 노래」는 체코시인 구스타프 플레거 모라프스키(Gustlave Pflege Moravsky)의 서정시 「사이플레스」(Gyprˇisˇe)를 바탕으로 만들어졌다. 그의 가곡은 절대음악에 기반을 두고 잇으며, 낭만주의의 기법으로 표제음악(Program Music)을 구사하면서 민족주의의 짧은 동기적 음형을 발굴하여 사용하였다. 뿐만 아니라 그는 보헤미아 민족주의 음악에 기초를 두고 정통 유럽음악을 추구했다. 본 논문은 그의 연가곡 「사랑의 노래」를 분석한 것으로서 음악적 이론을 토대로 시의 번역과 작품을 분석하여 드보르작 음악의 이해를 돕고자 한다. Dvorak, who had compiled the Bohemian folk music with Smetana, wrote a lot of music based on his deep consciousness of his country. Especially his songs, which mount to about 100 songs, show both his belief and patriotism well. This thesis will help readers to understand Dvorak's music and his contemporary Bohemian music, for it contains things about his life and musical background analyzing his love song "A Song of Love". "A Song of Love" dealt in this thesis leads the stream of the song by expressing dramatically the sadness and agony of love, creates purposely the strong and weak of the lyric, and uses skipping melodies. Chord progression has romantic factors for the use of chromatic scales and ninth notes, and avoids the beginning of traditional music and creates very different feeling by using Chords of VI and V. Dvorak's skills in "A Song of Love" generally show romantic characteristics; in accompaniment of the introduction phrasal melody is used for unification of the song; tremolos are used in dramatic parts and a lot of arpeggios are used in lyrical and pitiful parts of accompaniment. As a result, Antonin Dvorak has combined romantic musical techniques and a poem into "A Song of Love", which expresses folkloric atmosphere because of its short and simple phrasal melodies. Finally I hope this thesis, which deals with Dvorak's music and life, can be helpful for those who study Dvorak's music.

A. Dvorak의 "Zigeunerlieder Op.55"에 대한 分析 硏究

오정경 大邱가톨릭大學校 大學院 2001 국내석사

A nationalism music of Dvorak was influenced by backgrounds both world war of 1840's and ways of expression-self and overcome of people's inferiority as high concerning tradition and legend. As effects of these environments, the musicianship of Dvorak was involved in both romanticism of 19C and nationalism at the same time and was expressed on Lied, Opera, Cantata, Missa and Oratorio, etc. The purpose of this paper is to analyses the tendency of musicianship and structure interpretation of "Zigeunerlieder op.55" as one of his main works. "Zigeunerlieder op.55" was made of the folk theme of Adolf Heyduk and was expressed as representative music of Czech being involved in freedom-loving mind of Gypsy. Gypsy music was called as the music made by Gypsy self and performed. And life style of Gypsy is a roving life and anti- harmony with other groups. Because of group consciousness of Gypsy, Gypsy Song of Dvorak characterized freedom and national theme of Gypsy and expressed Czechoslovakism well. And Gypsy Song was developed as romanticism music and nationalism music.

J. Brahms's "Zigeunerlieder"op.103과 A. Dvorak's "Zigeunerlieder"op. 55의 比較分析

姜明和 원광대학교 대학원 2001 국내석사

We analyzed two works in the main subject in order to make an inquiry of the supposition that there are common features in 'Gypsy Song' - the same title which composed at the same age by Dvorak and Brahms. As a result, it is noticed that there's few something in common between the two works. First, They have different songwriters for the lyrics. Second, Dvorak keeps length and form of phrase strictly, On the other hand Brahms expresses classical guidelines in length of phrase. Third, In the melody as well as rhythm Dvorak expresses various, impulsive rhythm which without uniformity and with a lot of short melody to be gotten involved. on the other hand, Brahms dealt with the Gypsy scale as an altered cord harmon icily in accompaniment, thus melody have mot feature of the Gypsy scale directly, and rhythm has of simply-city and stability. Fourth, in the matters of Dvorak has enough prelude and int erlu-de, on the other hand, whether Brahms has no prelude or expresses the relation of relative keys, dominant key, and tonic key, on the other hand, Brahms avoided monotony caused by standardization of beat and tempo by means of variation. Fifth. In accompaniment form, Dvorak has enough prelude and interlude, on the other hand, whether Brahms has no prelude or expresses controlled emotion by means or short prelude. Then, another point appears more evident than the common point, because Dvorak who was born in Slavic is excellent romantic than Brahms whose composer in non-slavic devoted to Gypsy music, Brahms concentrates on his style. That is, based on the classical part who seeks after New classical works which adds to foreign emotion. Therefore, We must play the song after gaining enough understanding or thus differences between their two works.

Antonin Dvorak 作品에 對한 硏究 : ▼ b絃樂四重奏曲 American을 中心으로

연규택 淸州大學校 大學院 1984 국내석사

Antonin Dvorak (1841-1904) was one of the greatest composers who played an important role in making the national music of Czechoslovakia into a world music with B. Smetana (1824-1884) at the close of the 19th century, known as the later Romantic Era. Like Schubert, he belonged to the race of those divinely blest and naively inspired leaders whose thoughts and emotions manifest themselves spontaneously in musical forms. He had an ardent love of nature, a firm faith in God and a joyous optimistic outlook on life. His early works still lack individuality and were influenced by W.A.Mozart (1756-1791) and L.v. Beethoven (1770-1827); and yet they still bear witness to a strong creative impulse. In the middle period, he began to turn toward and account for his Czech. nationality in his own works, as well as the clear-cut and characteristic stamp of his personality. It was now clarified and simplified, returning again, with regards to form, to classical models, and began to show the qualities which became typical of all his subsequent musical compositions: proportion and elegance of form, beauty, nobility and individuality of musical content. He composed more patriotic works accounting for Slavs' characteristic ballad form, legend and myth. He constructed the foundation of the Czech.nationalistic form in these times. Later in his life he was inclined to programme music, especially displaying his skill in the part of description using the various methods of orchestration. His composition connected the romanticism reflecting the times though its form followed the tradition of classicism, and above that added the national sentiments. His melody was beautiful and rich enough to move emotions, rhythm was free with great variety and the harmony was most colorful. Well balanced classical structure, strong feelings, and abundant tone-color clearly expressed in the lyrical native melody and rhythm which characterizes his compositions. And thus, even thougn Dvorak's composition depended upon traditional skillfulness, his excellent melodic originality was the primary factor in the cause of making the best model in Czech.

A.DVORAK의 Ciganske Pisne <Gypsy Songs>'Op,55에 關한 分析 硏究

安孝主 全州大學校 1992 국내석사

As we have Studied Dvorak's <Gypsy Songs op.55>, Written this work without taking the Gypsy Scale into great Consideration. All the works Contained in this Song Cycle are Strophic form except the sixth and second piece. However, through the six and two prece is through-composed, the important thing is that its form pays close attention to the principle by the facts that the characteristics of the accompaniment is not affected by the change of the mood and that the melody takes strict strophic form when the accompaniment figure changes. The characteristics of song cycle become more evident by this close key relationships. Therefore, we may say this work has ample elements a song cycle. When it comes to melody, harmony and rhythm, there is not anything especially peculiar. In this author's opinion, throughout <Gypsy songs, op. 55> Dvorak seemed to have greater interest in carrying the atmosphere of Bohemian expressions rather than in the use of Gypsy scale. Behind this Bohemian expression there are highly organized aspect in musical form. Dvorak also expressed Gypsy music inhis own imaginative way. In this <Gypsy songs, op. 55>, we are able to catch the Gypsy's Bohemian temperanment. The Bohemianism is systematized by Dvorak's architectural scheme and its universal sympathy touches the heart of many sincere music lovers. The author has studied various aspects of Dvorak's song cycle. He hopes that this paper will provide an apportunity for studying the characteristics of his art songs, and that this also will be of some help to the performers.

Comparing QWERTY and Dvorak keyboard speed : a pilot study

조항준 서울대학교 대학원 2014 국내석사

The comparison between QWERTY and Dvorak layouts has been a controversial for many years. It is well known that QWERTY layout was not designed for efficient English typing. Conversely, Dvorak layout was developed by considering the characteristics of English. Nevertheless neither layout has been demonstrated empirically to be superior. The main reason is that it is almost impossible to find people who are equally skilled in both layouts. Comparative studies measuring the typing speed on Dvorak against QWERTY have generally failed to remove biases arising from the unequal familiarity of users. In preceding research, we suggested an efficient methodology for screening ultimate typing speed for different key layouts. Because it uses the users’ familiarity with the generally-used layout, it naturally also has biases. However these biases can be easily quantified and corrected. We had shown this method’s validity and effectiveness from the relatively large-scale experiments in mobile keypads with a wider range of users. We apply this screening method to QWERTY and Dvorak to figure out which layout is faster and how much which layout is more efficient. We built a web based system to gather a large amount of detailed typing data in small cost. This enabled the objective comparison between two layouts and also discovering characteristics of English typing. This information can be beneficial to develop new input devices or methods for various computing devices these days.

Dvorak의 Stabat Mater에 관한 연구

김영미 梨花女子大學校 1980 국내석사

Antonin Dvorak의 연가곡 Zigeunermelodien Op.55의 연주를 위한 분석 연구

김은주 계명대학교 대학원 2008 국내석사

Antonin Dvořák(1841~1904)의 연가곡 ｢집시의 노래 Zigeunermelodien」op.55에 관한 분석 연구이다. 드보르작은 스메타나(Bedrich Smetana 1824~1884)와 함께 19세기 후반에 체코 민족주의 음악을 대표하는 한 사람으로 그가 작곡한 100여곡의 성악곡에는 그의 조국인 체코에 대한 애국정신을 반영하기 위해 슬라브적인 선율을 많이 사용했다. 민족주의 가곡의 대표작품이라 할 수 있는 연가곡 ｢집시의 노래」op.55는 그의 나이39세 때인 1880년에 작곡 되었으며, 이는 그의 창작 활동의 최고 절정기에 해당되는 작품이다. 보헤미안의 서정 시인인 아돌프 헤이둑(Adolf Heyduk 1835~1923)의 원작인 <치칸스케 멜로디 Cikanske Melodie>에서 헤이둑 자신이 독일어로 번역한 7편의 시를 선택했고, 민족적인 정신과 집시의 자유를 사랑하는 정신이 잘 나타나있는 시로 이 시의 시적인 의미와 내용을 중심으로 민속적인 음악 표현들을 추가시킴으로 그의 풍부한 감정과 민족적 정신이 어우러져 예술적 완성도를 극대화시켜 예술적 측면에서 큰 가치를 이루었다고 할 수 있다. 형식 구조에 있어서는 전체7곡 중 제6곡만 통절가곡형식을 취하고 나머지는 유절가곡형식을 취하고 있으며 이것은 곡 전체의 통일성을 이루는 중요한 요인이 되고 있다. 또한 2부분형식 또는 3부분형식을 취하고 있으며 악구는 불규칙적인 구조가 많고 대조시키는 부분보다는 변주시킨 부분들이 두드러지게 나타난다. 선율은 동형진행, 순차진행을 통한 확대와 축소, 또한 각 부분의 주제적 선유의 반복과 변주로 인해 곡의 통일성은 물로 선율의 다양한 변화를 통한 아름다움을 더하였다. 그리고 각 곡의 시적 내용과 거의 일치한 선율을 사용하였고 정열적인 집시의 특징을 묘사하기 위해 다양한 다이나믹이 강조되는 곳이 많으며 집시음계중 하나인 증2도를 사용함으로 보헤미안적 색채를 보인다. 리듬은 집시의 춤을 연상시키는 무곡 풍의 리듬과 당김음의 빈번한 사용, 그리고 간혹 장식적 리듬이 나오며 빠른 곡은 행진곡 풍으로 진행되고 있다. 조성은 거의 단조가 많으며 7곡 모두 관계조로 연결되어 통일을 이루고 있다. 화성 면에 있어서는 반음계적 선율과 집시음계, 속7화음의 연속 진행을 사용하였고 거의 장, 단음계를 사용하였으며 특히 눈에 띄는 것은 집시음계에는 큰 의미를 두지 않은 듯하다. 반주부는 노래와 반주가 서로 이중주를 이루듯 각자의 역할에 중요성을 두어 마치 대화하듯 동등한 역할을 하고 있고 Tempo와 셈여림의 변화가 두드러진다. 또한 반주부의 텍스쳐가 다양하여 자주 반복되는 노래 선율의 단조로움을 보완하였다. 집시들의 자유로운 생활과 즉흥적인 특징들을 담고 있는 시를 선택하였으며, 악곡 구조는 2부분 또는 3부분 형식이고 제6곡을 제외하고는 모두 유절가곡 형식이며 리듬과 선율 그리고 반주부의 변형을 통해 A-A', A-A'-A''등의 형식으로 이루어져있다. 선율 면에서는 짧은 동기들의 축소, 확대를 통한 반복으로 곡의 단순함을 보완시켰고, 증2도와 집시음계, 민속악기의 음향 효과, 무곡 풍의 리듬 등의 민속적인 제재를 사용하였으며 집시음악의 특징인 당김음과 급격한 변화의 다이나믹을 사용함으로 보헤미아적인 요소를 효과적으로 나타내주었다. 이와 같이 드보르작의 집시의 노래는 체코의 민속음악 요소에 19세기 유럽의 음악 사조인 낭만주의 요소를 가미함으로써 체코의 민족주의 음악의 한계를 뛰어 넘어 세계 음악으로 거듭나도록 기여하였고 집시음악의 국제성을 보여 준 곡이라고 할 수 있다. This thesis is an analytical study on Antonin Dvořák's (1841-1904) song cycle "Zigeunermelodien" op.55 for performance. Dvořák and Bedrich Smetana (1824-1884) represented two of Czech's nationalism musicians in second half of the 19th century. In order to reflect their patriotism of Czech, Dvořák and Smetana implanted Slavish melodies among their vocal music compositions. They had composed an astounding one hundred vocal music compositions. Their song of the gypsy "Zigeunermelodien" op.55 can be seen as the nationalism representative composition. Undoubtedly, this composition represented the genith of Dvořák's musical career. Furthermore, at the age of 39, Dvořák composed this famous piece with Smetana in 1880. Dvorak and Smetana chose the Bohemian poet Adolf Heyduk's(1835-1923) "Ciganske Melodie." They selected seven cantos of "Ciganske Melodie," in which Heyduk himself translated into German; they did this because it expressed patriotism and a gypsy's love of freedom. They placed "Ciganske Melodie's"poetic meaning and content as central to their folklore piece. Dvořák added and harmonized emotion and a spirit of patriotism in Heyduk's poem in order to enhance and complete the artistic value in "Zigeunermelodien" op.55. The form of structure of six of the seven cantos is through-composed style the rest are stylistically strophic. The forms of structure are a primary factor in the unity of Dvořák and Smetana's "Zigeunermelodien" op.55. The composition also adopts the 2 part form and the 3 part formthird, in which there are numerous irregular structures in the phrase. Additionally noted, the parts of variation are more conspicuous than the parts of contrast. The melody of "Zigeunermelodien"op.55 is amplified and made subtle by both sequence and serial process. The unity generated by the repetition of theme and variation and the variations in the melody both add to the aesthetic beauty of the piece. The poetic content of each piece is almost parallel to the melody. In order to describe the characteristics of a gypsy lifestyle, Dvorak and Smetana emphasized the various dynamics found in the composition. Additionally, Dvorak and Smetana made use of the augmented 2nd found in a gypsy scale in order to add a bohemian flavor to their composition. The frequent use of rhythmic dance music and syncopated beats associates the piece to the dancing of a gypsy. However, occasionally, there is an appearance of decorative rhythm. On the other hand, fast tunes are developed in the style of a marching song. The keys consists of many minor keys and all seven pieces are connected by the relative keys. These keys and relative kesys come together to form unity. Harmony, chromatic scale melody, and gypsy melody all use consecutive seven chords and minor and major scales in a continuous progression. However, distinctively, the gypsy scale is left as insignificant. a accompaniment consists of the song and accompaniment forming a duet but at the same time places their individual importance. The song and the accompaniment seem to be in a sweet dialogue and the changes in tempo and beats are conspicuous. The variety of the textures of the accompaniment compliments the repetitious monotones of the melody. Dvorak selected the cantos that represent the free-spirited and extemporaneous lifestyles of gypsies. The structures of compositions are 2 part form and 3 part form structures and except the sixth piece, "Zigeunermelodien" op.55 are strophic styles. The transformation of rhythm and melody enabled the A-A', A-A'-A" style in the composition. The melody is complemented by the short motifs that are minimized but are also maximized by repetition augmeted 2nd. the gypsy scale, the effect of folk instruments' sound, dancing style rhythms, and the use of aesthetical materials dynamically change the characteristics of gypsy music. The steep decline of syncopated rhythms effectively shows the important elements of the dynamic bohemian style. Like so, Dvořák's incorporation of gypsy music, Czech's folk music, 19th century European romanticism, and patriotism passed all bounds. "Zigeunermelodien" op.55 was reborn and recognized as world-class music because it made gypsy music internationally known.

드보르작 연가곡<집시의노래>와 리스트 <헝가리 랩소디 제 6번>에 나타난 집시음악에 관한 비교 분석

김희정 전북대학교 교육대학원 2007 국내석사