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Joaquin Rodrigo의 가곡 Cuatro Madrigales Amatorios에 대한 연구 분석
전소담 이화여자대학교 대학원 2001 국내석사
올해는 로드리고 (Joaquin Rodrigo 1901. 11. 22.~1999. 7. 6) 탄생100주년을 맞이하는 해이다. 로드리고는 20세기 시작과 끝을 같이한 작곡가로서 진정한 20세기의 작곡가로도 평가 받고 있는데, 스페인의 20세기 작곡가중에서 국민학파인 알베니스(Isaac Albeniz), 그라나도스(Enrique Granados), 파야(Manuel de Falla)와 더불어 스페인 특유의 민족주의적인 요소의 작곡법에 새로운 음악 양식인 신고전주의적 형태를 보이면서 스페인 음악의 발전에 큰 기여를 한 음악가이다. 로드리고는 그의 뛰어난 작곡성과 음악사에 대한 기여로 연구와 연주 또한 존경받을 충분한 가치가 있는 것으로 알려져 있는데, 특히 그의 가곡들은 화려한 선율, 조화와 부조화의 불협화음, 그리고 서정성을 가지고 있는 것으로 유명하다. 국내에서는 '로드리고'를 말할 때 그의 대표작을 아랑훼즈 협주곡(Concierto de Aranjuez)을 꼽을 정도로 그의 기타곡이 많이 소개되고 있는데 반해 안타깝게도 그의 이런 뛰어난 가곡들에 대한 소개는 많이 되고 있지 않다. 본 논문의 연구 경위는 그간 국내에서 스페인 가곡에 대한 연구가 미진한데에 착안하여, 스페인 가곡발달 과정에 대하여 알아보고 로드리고의 기념적인 의미를 담아, 그의 생애와 더불어 작품분석을 통하여 스페인 가곡에 대한 이해를 돕고자 하는 이유에서 출발하였다. 논자가 로드리고의 수 많은 작품들 가운데, 4곡(¿Con que la lavare?, Vos me ma tasteis, ¿De donde venis, amore?, De los alamos vengo, madre)으로 이루어진 모음곡인 「Cuatro Madrigales Amatorios (4개의 사랑의 마드리갈)」 을 주제로 삼은 이유는, 앞서 말했듯이 로드리고의 기타 연주곡집에 가려 국내에서의 그의 성악곡에 대한 관심이 적은데 반해 이 곡은 연주자들을 통해 가장 많이 불리워 지고 있기 때문이다. 「Cuatro Madrigales Amatorios (4개의 사랑의 마드리갈)」의 시 내용과 더불어 형식 및 화성, 선율, 리듬, 반주형태 등을 고찰함으로써, 그의 작품에 대한 더 좋은 연주를 할 수 있도록 연주자들에게 실질적인 도움을 주고자 하는데 그 목적을 두었다. The year 2001 marks the 100th anniversary of Joaquin Rodrigos (11.22.1901 ~ 7.6. 1999) birth. Since his life spans the entire twentieth century, Rodrigo is recognized as an authentic twentieth century composer. Along with the Spanish nationalistic school of composers (whose notable members include Issac Albeniz, Enrique Granados, and Manuel de Falla), he made great contributions to the development of Spanish music. He used a unique Spanish nationalistic style in his composition, professing a new compositional style of neoclassicism. In general, Rodrigo is worthy of study, performance, and respect because of the quality of his compositions and contribution to music history. Particularly, his vocal music has masterful melodies with harmonic as well as nonharmonic dissonance and supreme lyricism. In Korea, however, Rodrigos fame is due mostly to his popular guitar music, Concerto de Aranjuez. Unfortunately, his lovely vocal pieces have been neglected. This research paper highlights the fact that the study of Spanish vocal music has received little attention in Korea. The paper aims to promote the understanding of Spanish vocal music by scrutinizing the overall development of Spanish vocal music and specifically analyzing Rodrigos work as well as his life. The paper focuses on the vocal cycle, Cuatro Madrigales Amatorios (Four Madrigales of Love), which is composed of four songs (Con que la lavare?, Vos me matasteis, De donde venis, amonre?, and De los alamos vengo, madre). This cycle is chosen as a main analysis of Rodrigos vocal work, because it is one of the few cycles that has received attention in Korea and has been performed by many Korean singers. Through careful analysis of this cycle, including its chord, melody, rhythm and style of accompaniment as well as its poetic lines, the paper can help musicians understand Rodrigos work better and perform his songs more precisely.
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배윤진 신라대학교 일반대학원 2014 국내석사
The time when Sanz lived was the declining period of [vihuela], which enjoyed a high level of musical achievements, and the emerging period of the baroque guitar in Spain. The baroque guitar gained huge popularity with the [Rasgueado style], a new technique that plays simple chords on guitar and the rhythm of dance music; in overall, it deteriorated musical achievement when compared to [vihuela] was in the trend. While adopting the new trend, Sanz inherited the former sophisticated [Punteado style] and obtained a high level of musical achievement. The [Alfabeto Notation] in Sanz's book demonstrates the most advanced and diverse style of the various forms of tablature presented of the time. His music has been widely played and considered a classic in guitar music. Rodrigo, inspired by the works of Sanz, chose six pieces from the <Instrucción de Música Sobre la Guitarra Española> and composed <Fantasía para un Gentilhombre>. As examined in the main text, the guitar that Sanz used had many restrictions in terms of the expression of musical ideas due to a narrow tessitura thus requires revision for transcribing the music to modern scores. Several versions of modern scores of Sanz's works are remained and the fundamental cause is that the guitar Sanz used was different from modern guitars in terms of structures and the method of tuning. In order to examine how Rodrigo interpreted and accepted Sanz's works, the study conducted a comparative study on modern scores and Rodrigo's scores of various versions and copies of facsimile from Sanz's publication of the time. First, Sanz's tablature score has no key signatures, (although note values for the flow of entire music were provided) and note values were not provided in each music note, which requires a new interpretation when transcribing to a modern score. The 4th and 5th courses of the baroque guitar used by Sanz were tuned 1 octave higher than modern guitars. However, there are cases where the 4th and 5th courses that functions as the root note and melodic lines are mixed together, which requires a difficulty of a new interpretation. In addition, a new interpretation is necessary as the expression of musical ideas was limited due to a narrow tessitura. Furthermore, the polyphony, e.g. [Fugue] is not that simple to trace the flow of melodic lines. Rodrigo had a profound understanding in the characteristics of the guitar music more than anyone because he intensively studied [vihuela] and baroque guitar books, which were published in the 16th and 17th centuries, during his academic years in France. Rodrigo uses Sanz's works intact through the neoclassical technique with slightly alternation and restructure. It feels as if Sanz's works are newly orchestrated. However, the problems of Sanz's works pertaining to tuning and distortion due to a narrow tessitura and the part of melodic lines needed neat arrangement to be used. In the case of the second movement [Ricercare], however, the formality of Sanz's [Fugue], the original piece, is too simple unlike general [Fugue] of the 17th century; parts, such as [Modulation] or [Stretto], [Coda] are omitted and only [Subject] and [Answer] are provided; therefore, it is not called [Fugue] but uses the old name [Ricercare], a passive meaning for a music that use imitation techniques. Rodrigo newly composed the [Counter Subject] of [Fugue] for replacement or altered intensively compared to other movements, such as improving the simplicity of the original piece through [Modulation]. He expresses new musical ideas based on motive figures included in works or improves simplicity of the original piece through variation. He pursues the brevity of formation of [Neoclassicism] and the usage of harmony does not depart greatly from the tradition. It rather draws an interesting change to the simple resonance by properly using added chords that collide semitone. In <Fantasía para un Gentilhombre>, guitar is a solo instrument in orchestral accompaniment, but is a suite based on dance music, not a concerto. However, it introduces technical cadenza and creates the concerto effect. Previous composers, such as I. Albeniz, E. Granados, M. de Falla, and J. Turina, who imported [Impressionism] or [Neoclassicism] from France, pursued [Casticismo] that expresses Spanish coloration; Rodrigo, however, found the identify of his music world through study on guitar music of [Siglo de Oro] Spain in the 16th~17th centuries and sought after [Neo-Casticismo], which is rooted in the tradition of Spanish music. For Rodrigo, the guitar music of [Siglo de Oro] was a source of inspiration and he searched for ideas in guitar music of [Siglo de Oro] even for works not for guitar. Unlike Falla and Turina, who focused on various trends of music and composing skills that were popular in the 20th century, Rodrigo adhered to the harmony that based on traditional composing skills and tonal music. Rodrigo is a composer who adhered to traditional and compositional techniques of the 20th century music and was also an object of criticism. For all his life, he pursued guitar music of [Siglo de Oro] considering [Neo-Casticismo] as an important asset to include his identity. <Fantasía para un Gentilhombre> is the most important piece of work that reveals the world of works and identity of Rodrigo in earnest.
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C. Debussy의 가곡 「Quatre Chansons de Jeunesse」와 J. Rodrigo의 가곡 「Cuatro Madrigales Amatorios」 에 관한 연구
박희정 이화여자대학교 대학원 2002 국내석사
19세기 후반부터 20세기 전반 음악에 걸쳐 나타나 ㄴ다형한 사조의 음악에는 인상주의와 신고전주의가 있다. 본 논문은 2002년 4월 22일(월)에 석사과정 이수를 위해 가진 조업연주회 프로그램 중 인상주의와 신고전주의가 성행했던 19세기 후반에서 20세기 전반에 걸쳐 활동한 작곡가 중 프랑스를 대표하는 작곡가 드뷔시(Claude Achille Debussy, 1862-1918) 와 스페인을 대표하는 작곡가 로드리고 (Joaquin Rodrigo, 1901-1999)의 가곡에 대하여 연구한 것이다. 분석에 아퍼 살펴본 이론적 뱌경은 우선 프랑스 가곡과 스페인 가곡의 발달과정이 있는데 본 논문에서는 이 두 국가의 가곡이 발달하게 된 변천사와 유래, 그리고 발달 과정에 대하여 언급하였고, 음악적 특징에 대해 살펴보았다. 그리고 드뷔시와 로드리고의 가곡에 대해서 살펴보았는데 우선 드뷔시는 가곡에서는 그의 작곡이 전 생애에 거쳐 작곡되었고 그것이 세 시기로 나누어지므로 각 시기에 해당하는 특징들에 관하여 서술하였따. 로드리고의 각곡에서는 그의 가곡의 음악적 특징과 작품에 대하여 살펴보았다. 분석에서는 드뷔시의 초기 가곡집인 「젊은 날의 4개의 노래」(Quatre Chansons de Jeunesse)와 로드리고의 가곡집인 「4개의 사랑의 마드리갈」(Cuatro Madrigals Amatoris)에 대하여 형식, 동기, 리듬, 조성, 그밖의 음악적 기법에 중점을 두어 분석하였다. 이론적 배격와 분석을 통하여 나타난 두 나라의 음악적 특징과 로드리고와 드뷔시의 가곡에 관한 이해를 돕고자한다. Impressionism and Neoclassicism were the two major trends from the end of the 19C to the 20C. This is a study on " Quatre Chanson de Jeunusse" From Debussy and on "Cuatro Madrigales Amatorios" from Rodrigo, two composers of the time. Debussy used Symbolism poets of France that depicted inner human minds in writing words and music. "Quatre Chanson de Jeunesse" was his early omposition composed of four independent poets. The song realizes various musical ouches in line with the content and atmosphere of the poets. Some words are repeaated and empahsized, requiring the player to exercise technical skills. The song is divided into 2 or 3 parts with prelude, interlude and postlud. In addition, it used modes to express exotic mood. The song tried to use vocal melodies combined with words and has wide voice range. It has many ornament grace or trill, requiring technical skill for vocallists and plays in p or pp. which seems to be influenced from the songs of Romanticism period. "Cuatro Madrigales Amatorios" is a simple song that has touches of folk music with joyful melody. representing Spanish mood. It plays whole notes, using both p-f. Rodrigo and his mentor, Duka were heavily influenced by Nationalism. As Neo-classicism composers, they used poets pf Spain, including modem poets and poets on love. They also used legends to compose traditional songs in classical style. Accompaniment was simple and light. The songs were played accompanied by guitar and the composer tried to express unique characteristics of Spain. Based on the theoretical background and analysis on songs of Debussy and Rodrigo, we will be able to enhance our understanding on the songs of the two composers. I hope the thesis will probide help to players of the songs Debussy and Rodrigo.
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J.RODRIGO의 CUATRO MADRIGALES AMATORIOS의 작품 분석에 따른 스페인 예술 가곡의 특징 고찰
A Spain music is unfamiliar to us rather than German, Italian and French music. Spain is a group having various elements from the viewpoint of race and language. These various elements have much influence on music. A Spain music, also, has the most similar ways with Oriental's. It is mixed with a very old song and new one, a western song and an oriental one in any districts of Spain Folksong. J, Rodrigo, who is respresentative of the characteristic style in a Spain Folk Song, was born at Valencia Sagunto in 1901. At the age of four, a terrible illness, diphtheria, left him without sight. He began his music lesson at 10. Getting acquainted with Falla at 20 had an important effect upon his music. In the Civil War, he stayed mostly in France and Germany. During this times, he won a worldwide reputation because of Concierto do Aranjuez for the guitar and orchestra. It was the landmarks of music history to concert with the guitar and on orchestra in that times. Cuatro Madrigales Amatorios, which was famous for the 16th century Spain folk song of Rodrigo's piano(or orchestra), was an artistic excellent and fascinating song. It was characteristic of folk song style which was cheerful and humorous with Coloratura melody. Also, his song was full with humanity and liveness, and has beautiful melody. A Rodrigo's work are classfied into neoclassim in form, harmony, melody and rhythm. In this thesis, a Spain song, the characterization of its folk song and attentive details when produced are inquired. Rodrigo's life and the work "Cuatro Madrigales Amatorios" are analyzed.
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J.Rodrigo의 「Cuatro Madrigales Amatorios」에 나타난 Madrigales의 특징 연구
Similar to other country's music, it is predicted that Spanish music had also been developed through the influence of its own traditions and others nearby. This research was started on the assumption of a relation between the Middle Ages and the song “Cuatro Madrigales Amatorios” by J. Rodrigo. Revealing the hidden relation from the word “Madrigales” in the title and the Middle Ages would be intriguing to the player and the listener. Furthermore, it could suggest that the musical heritages throughout the world are the motif of a new creation in the 21st century. The background of this study is when the researcher performed a song in Master’s degree graduation concert by a successful Spanish composer named Joaqin Rodrigo. Rodgrigo’s music flourished in the late nineteenth century through early twentieth century, when impressionism was at its end and Neo-classicism stepped in. The main purpose of this research is to analyze his most popular song “Cuatro Madrigales Amatorios” by finding characteristics of traditional Spanish songs and the Madrigales from the Middle Ages from other references. The method of this analysis was mainly on styles and the contents were form, rhythm, harmony, accompaniment and lyrics. After a thorough research, the results were concluded on the effectiveness of a performance when the findings were applied. First, the performer will express the composer’s intention by studying Rodrigo’s life, his personality and the background of Spanish music. Second, the performer will express the characteristics of a madrigal: the counterpoint topped with the impressive and passionate lyrics, the brave chromatic harmony underneath and freely written rhythms. Third, the performer will express adequately by understanding the form of the piece, melody, rhythm, tempo and the lyric. Last, it will be the example of creating a musical heritage of all time into a new invention. 어느 민족이나 지역의 음악에서도 동일하겠지만 스페인 음악도 전통과 인접지역에서의 영향을 받으며 발전해 왔을 것이다. 본 연구에서는 J. Rodrigo의 가곡 「Cuatro Madrigales Amatorios」가 중세 마드리갈과 어떠한 관계가 있을 것이라는 전제하에 연구를 시작하였다. 곡의 제목에 나타난 마드리갈이 실제 중세의 마드리갈과 어떠한 관계에 있는 지를 살펴보는 것은 창작자에게나 연주자 모두에게 매우 흥미로울 것이기 때문이다. 그리고 나아가 전 시대의 수많은 음악적 유산이 오늘날에 새로운 창작의 모티브가 될 수 있다는 점을 시사 하기 때문이다. 이 연구의 배경은 연구자가 2012년 4월 30일 계명대학교 대학원 음악학과 석사과정 이수를 위해 가진 졸업연주회 프로그램 중 인상주의와 신고전주의가 성행했던 19세기 후반에서 20세기 전반에 걸쳐 활동한 작곡가 중 스페인을 대표하는 작곡가 로드리고의 가곡을 연주한 것과 관련이 있었다. 연구의 방법은 스페인을 대표하는 작곡가 J. Rodrigo의 생애와 스페인가곡의 일반적인 특징과 중세 Madrigales의 일반적 특징에 대하여 문헌을 통하여 먼저 알아보고 그의 대표 가곡 「Cuatro Madrigales Amatorios」를 분석하는 것이었다. 분석의 방법은 양식분석(Style analysis)을 위주로 했으며 분석의 내용은 형식, 리듬, 조성, 반주, 가사 등이었다. 이러한 연구의 결과로 얻어진 자료를 「Cuatro Madrigales Amatorios」의 실제 연주에 적용하였을 때 기대되는 효과는 다음과 같이 정리 되었다. 첫째, 작곡가 로드리고의 생애와 그의 음악적 성향, 로드리고의 음악적 배경이 되었던 스페인 음악의 역사를 파악하게 됨으로써 작곡가가 곡을 통하여 표현하고자 했던 것이 무엇인지를 잘 살려 연주할 수 있을 것이다. 둘째, 마드리갈에 대해 알아봄으로써 감상적이고 애욕적인 가사와 대위법에 바탕을 둔 모방적인 요소들 반음계적인 대담한 화성기법과 자유분방한 리듬 등의 마드리갈의 특징을 잘 살려 연주할 수 있을 것이다. 셋째, 작품의 형식, 선율, 박자, 빠르기, 가사 등의 특징을 이해함으로써 객관적인 연주해석에 의한 적절하고 타당한 표현을 할 수 있을 것이다. 넷째, 전 시대의 많은 음악적 유산을 새로운 음악 창작에 적용하는 예를 보여 줄 것이다.
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J. Rodrigo의 「Cuatro madrigales Amatorios」분석
본 논문은 20세기 스페인 음악의 획을 그은 로드리고(J. Rodrigo, 1901~1999)의 생애와 가곡을 통해서 15세기부터 20세기에 이르는 스페인 음악의 특징과 가곡의 발달 과정을 알아보고, 특히 전 세계에 스페인 음악을 널리 알린 모음집「Cuatro madrigales Amatorios(4개의 사랑의 마드리갈)」을 중심으로 분석한 것이다. 스페인은 역사와 지리적인 여건으로 인해 문화의 다양함과 복잡함을 동시에 지니고 있으며, 이러한 환경으로 인해 독특하고 매력적인 특징들을 갖게 되었다. 대표적인 특징으로는 멜리스마와 ‘미’의 선법, 리듬이 있으며, 로드리고의 모음집에는 특히 멜리스마와 독특하고 율동감 넘치는 리듬들이 주로 사용되어지고 있다. 로드리고는 신고전주의 작곡가로서 춤곡리듬, 서정적이고 단조로운 멜로디, 민속적인 요소들이 국민주의적인 특징을 분명하게 보여주고 있으며, 일탈과 발전이 특별하게 보이지는 않지만 화려하면서 매우 보수적인 스페인 풍의 작곡양식을 사용하여 스페인 시문학과 노래의 전성시대를 떠오르게 하였다. 「Cuatro madrigales Amatorios」는 16세기 시 모음집에 포함된 곡을 편곡한 것으로 독특한 스페인 민족 색채를 사용하고 있어 가장 많이 사랑받고 연주되어지는 모음곡중 하나이다. 훌륭한 시를 바탕으로 하여 사랑에 대한 적절한 언어의 선택, 음악적으로는 반주의 다양성으로 널리 알려져 있다. 신고전주의의 특징인 f-에올리안 선법, 단순, 명료한 모방과 대위법적인 특징이 보이며, 주로 같은 리듬, 화성, 선율을 반복하여 사용하고 있다. 계단식 다이나믹과 화음구조, 크레센도, 리듬 등은 스페인 민요의 형식을 취하면서 단순하고 바로크 스타일에 충실하게 작곡되어져 기교과 매력이 있다고 평가된다. This paper aims to determine characteristics and developmental process of Spanish music from the 15th century through the 20th century by considering life and song of J. Rodrigo(1901~1999) who marked a new era in Spanish music of the 20's. In particular, it focuses on analyzing a collection, 「Cuatro madrigales Amatorios」 what made Spanish music famous all over the world. Spain has various and complex cultures due to its history and geographical condition, and this environment has created unique and attractive characteristics of Spanish music. Melisma, mode of 'Mi' and rhythm are typical characteristics and especially, Rodrigo mainly used melisma, and unique and rhythmical rhythms in his collection. As a neoclassical composer, he clearly exhibits nationalistic properties of dance music's rhythm, lyrical and simple melody, and racial components, and created the golden age of Spanish poetical literature and song by using a splendid, but very conservative, Spanish compositional style, although it is not deviant and evolutive. For 「Cuatro madrigales Amatorios」, he arranged songs in a poem collection published in the 16th century. This work is one of suites which are most widely loved and performed all over the world, as it uses a unique national color of Spain. Based on a great poem, it is also very famous for proper linguistic choice of love and a diversity of accompaniment. There are some neoclassical characteristics such as f-eolian mode, simple and plain imitation and counterpoint in this work and it repeatedly uses the same rhythm, harmony and melody. While following the form of Spanish folk song, it has great technical skill and attraction, since terrace dynamics, harmonic structure, crescendo and rhythm of this work are simple, but faithful to Baroque style.
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