L.v. Beethoven Symphony No.9 in d minor, Op.125의 분석 연구 : 4악장 합창을 중심으로

김화수 창원대학교 2021 국내석사

In order to understand Beethoven’s symphony and perform the work correctly, the researcher should first look at Beethoven’s life and the background of the composition of the “Choral” symphony. This thesis, for the correct performance of the choral part, provides the pronunciation methods of German letters, and analyzes the meaning of the lyrics and the pronunciation method of the lyrics. In addition, this thesis studies the interpretation of the work through the analysis of the 4th movement, and suggests conducting methods. The above is studied through literature, academic journals, and previous thesises. Beethoven’s Symphony No.9 uses a mixed form, broken away from the traditional four-movement symphony structure, with diverse expressions centered around the choral part, “Ode to Joy”. Beethoven also used recitativo orchestral parts, various meters and dynamics, Musica reservata, Turkish-style marching rhythm, double fugue, and conversational music progression among vocal soloists, chorus, and orchestra. Through these expressions, Beethoven was able to convey ‘a message of harmony and peace throughout humanity and joy that blooms in Christian love’. Among Beethoven’s numerous works, in particular, Symphony No.9 “Chorus” contains his noble thoughts, religious beliefs, and philosophical beliefs. Beethoven gave a great leap forward in the development of the symphony by adding vocal part to the symphony, which composed of pure instrumental music as a genre of absolute music at the time, to freeing up the musical structure and compose it in a variety of ways. He also provided a lot of hope and joy through the message of “Joy and Love for Humanity” by using Schiller’s poem “Ode to Joy” as the lyrics in his symphony No.9. The author hopes that this small study, such as the flapping of a butterfly’s wings, could help later researchers and performers, and furthermore, music scholars’ in-depth research on Beethoven Symphony No.9. Therefore, I hope that many musicians would play wonderful performances with interest and affection on the deep and rich message inherent in Beethoven Symphony No.9.

L. V. Beethoven Symphony No.9 Op.125의 분석 연구

김철원 국제신학대학원대학교 2008 국내석사

베토벤(Ludwig van Beethoven)은 독일 본에서 태어났으며, 하이든, 모차르트와 함께 ‘빈(Wien) 고전파의 3대 거장’으로 불리었다. 그는 고전시대에서 낭만시대로 넘어가는 시기에 있어서 낭만주의자들에게 중요한 역할을 하였다. 베토벤은 그의 생을 통해 많은 작품에 그의 열정과 노력을 아끼지 않았는데 그가 남긴 9개의 교향곡은 모두 전 인류에게 감동과 환희를 맛보게 하였으며 그중 9번 교향곡(Symphony No.9)은 가장 대표적이라 할 수 있겠다. 9번 교향곡 은 일명 합창 교향곡이라 불리는데, 이만큼 웅대하고 장엄한 교향곡은 전에도 없었고 후에도 없을 것이다. 이것이야말로 베토벤 예술의 최고의 정점이며 음악사에 있어서 최고의 작품이라 할 수 있겠다. 베토벤은 그의 9번 교향곡에서 앞 악장 1, 2, 3악장을 연주 후 이러한 식상한 음악은 그만두고 좀 더 새로운 음악을 하기 위해 인성을 끌어들여 외치는 음악으로 합창 교향곡 제4악장을 전개했다. 사람의 목소리가 교향곡에 들어가 있고 4인의 독창자와 혼성 4부 합창이 함께 있는 제4악장은 오케스트라에 성악이 귀속되지 않으며 그렇다고 합창에 오케스트라가 예속되지 않고 대등한 음악을 만들었다. 그로 인해 후대의 많은 작곡가들은 음색의 변화를 꾀하게 되었고 그 결과 오늘에 이르기까지 오케스트라의 발전을 가져오는 계기가 되었다. 따라서 기악음악이 활발하게 연주되게 되었고, 시민들을 상대로 기악을 위주로 한 많은 음악회가 열림으로써 음악사회의 변화를 가져오게 되었다. 이처럼 베토벤에 대해 알고 이해함으로써 연주자와 감상자 모두가 올바르게 그의 음악을 이해하는 데에 그 의의가 있다. Beethoven was born in Bonn, Germany. He was one of the three great Viennese classical school had with Hayden and Mozart. We could see him as an important composer during the renaissance and classic period. To the Romantist, Beethoven was considered as the core role of "Religious Music" In this situation, Beethoven, in his symphony "Chorus", unfolded the fourth movement as exclamation of "Let's play a new music", after playing the first, second and third movements. In the Symphony No. 9 in D minor, of course, the highest is the fourth movement. The fourth movement, in which human voice can be heard and orchestra revert neither to vocal music nor to chorus, is the equal music. Also, in the fourth movement, human voices lead the piece, denying the former ones, at the same time chorus and solos don't appear in the first, second and third movements but they show up in the fourth one after break. I will deal with this as a problem through this thesis. It will be meaningful that we can try to do various and correct performances through correct performers' attention as well as correct understanding of the work by means of knowing and appreciating about Beethoven.

Franz Peter Schubert Symphony No.9 C major "The Great" D. 944의 演奏技法에 關한 硏究

한의색 檀國大學校 大學院 1986 국내석사

The Schubert symphony No.9 "The Great" in D.944 has been become the subject of the study and the criticism by the performers and the conductors, because this symphony has made some problem : the problem of articulation in the symphony rather than the value of existence and form of this symphony itself, the problem that made the boring by the repetition of the same rhythm and the rapid change of the expression on technical skill, and the problem that made no affection between the performers, audience and this symphony for this symphony is very vast to perform and to have interest. However, the most serious point that made these problem is that every score of this symphony is different from the other publisher's each one in the aspect of the articulation and the sign. For example, it is numerous for publishers to misprint the sign >(accent) to the sign>(decresent), and frequently the sign fz, ff on some place. It means that the tititle is a same thing but the score is not. About Schubert composing this symphony, he composed this symphony so quickly that this symphony is not perfect slightly. Especially, during the perfomence of this symphony, the problem which had not the charaters of the brass, the strings, and the wood-wind fully, is appeared several times, and the problems of articlation are, too : the problem of the technical skill with the brass which is expresses harshly by the sign ff(fortissimo)of trombone, the boring of the perfomers of the string by the repetition of the same and of the problem of the articualtion about the raped change the sign ff(fortissimo)and pp(pianissimo). Occasionally, the technguc of performence which disregard the phrasing and articulation gets the conductor into diffic lt situation. In any case, Schubert who is a composer of tune is completely changed a composer of symphony by this symphony. Now, on analyzing the problems of this symphony, I avoid my Opinion if I can, arrange the score of this symphony as it is, and respect the composer's will, and make a comparative study on the each problem on each score of this symphony. And I make a comparative study on the problem very rationally, which was gotten from the performence of the orchestra and nine conductors. I avoid the correction the score in the conductor's side if I can. As I have said above, the omited signs are arranged to be make for the unity of each score of this symphony. Even though there are many problems to arrange the score of this symphony about the staccato of the strings, I do not arrange the staccatisimo on the Britkopt and Hartel's score of this symphony. The confusion of the sign >(accent) and >(decresent) is arranged by the orchestration and articulation of the stream of this symphony if I can. I hope that this paper, the comparative study on the Schubert symphony No.9 "The Great" in C major D. 944. can publish the score of this symphony very rationally by all publishers, and help to all the conductors and the performers who perform this symphony.

드보르자크 교향곡 제9번 마단조,Op. 95의 작품 분석과 지휘법 연구 : 1악장을 중심으로

임경미 창원대학교 2022 국내석사

To serve as the messenger of the composer, a conductor must study the music before rendering, and their interpretation of the music must be respectful of the composer's intentions. When analyzing and performing a piece of music, it is the conductor's job to take the composer's life, the historical background of the music, and the composer's intentions into consideration. As good performing skills are essential for a performer, a conductor should have excellent techniques for conducting. In the case of an orchestra conductor, they must render the music as the composer had intended, have a sharp ear, understand each instrument in the orchestra, and have a good sense of rhythm and an ability to lead the orchestra. Among Dvorak's nine symphonies, the 9th one, <From The New World>, is the most well­known, where he created his unique musical syntax by incorporating his compositional techniques, American musical syntax, and his nostalgia for Bohemia. In this thesis, various rendering methods and compositional techniques for Symphony No.9 1st movement are discussed from a conductor's perspective, and the symphony is analyzed based on the Sonata form. The thesis also includes the aspects that a conductor should consider. This thesis will be useful to those who perform Symphony No.9 1st movement.

Ludwig van Beethoven Symphony No.9 D-minor Op.125 "Choral" 第4樂章 分析 硏究 : "合唱"을 中心으로

신성식 계명대학교 2001 국내석사