음악사에 나타난 성악음악과 기악음악의 대립 및 해결에 관한 연구

다국어 초록 (Multilingual Abstract)

When I envisioned a treatise at first, I tried to see which of the two-Vocal Music and Instrumental Music-were superior to in Western Music History by comparing Vocal Music with Instrumental Music and analyzing its Musical traits. But the perspective of my study was changed through Romantic Music.
The Music started at Vocal Music. Vocal Music was the core for long periods through the Middle Age to Renaissance. Then Vocal Music have developed brilliantly and gained the top in Baroque. While Instrumental Music, settled separately in Baroque, was centered in Classic. And Vocal Music was obscure relatively.
Thus the initiative of Vocal Music and Instrumental Music has changed in Western Music History. So I viewed it as the respect of the antithesis.
However History didn't cease there. In Romantic Music, accepting outer-music elements, History let Vocal Music and Instrumental Music join equally. It was a quite different aspect. I considered it as a method to solve the antithesis.
Being repeated of the times, the change of the style and the perspective have not come out unexpectedly. Instead it has appeared through mutual relation gradually. Early in Vocal Music, people depended on reciting lyrics(just as Recitative). So the harmonic concept has appeared. Therefore Instrumental Music was a necessary consequence. Then the value of Vocal Music got fade, Instrumental Music has been prior to Vocal Music in Classic. And because the outbreak of Instrumental Music was later than Vocal Music, it was trial and error on the process of development, like a case of Vocal Music.
In this way, Vocal Music has brought “to be Instrumental Music”. And then Instrumental Music has brought also “to be Vocal Music”. The result was Romantic Music. That I notioned as ‘the solution’ is Romantic Music. It means that the day of contrast and conflict passed and joined for the natural purpose of Music.
In the process of the antithesis and the solution of mutual relation, the most important thing is not what kind of Music have an initiative, but which the purpose of Music is ultimately.
The performers understand Western Music History through the Works. They neglect the purpose of Music ever so much. But it is not only the composer's responsibility. All the more should both of them share it. the performers ought to understand Western Music History on the whole sight.

목차 (Table of Contents)

• 목차
• I. 서론 = 3
• (1) 연구목적 = 3
• (2) 연구방법 = 4
• (3) 연구범위 = 4
• II. 성악과 기악의 대립(對立) = 5
• (1) 성악중심의 시대 (단선율 시대에서 바로크까지) = 5
• 1) 단선(單線)율 시대 = 5
• 2) 다성(多成) 음악 시대 = 7
• 3) 바로크 시대 = 10
• (2) 기악중심의 시대 (바로크에서 고전까지) = 14
• 1) 바로크 = 14
• 2) 고전시대 = 16
• III. 대립의 해결(解決) ; 낭만시대 = 19
• (1) 낭만주의 특징 = 20
• 1) 어원(語源) = 20
• 2) 음악외적 요소의 도입 = 20
• 3) 성악의 기악화·기악의 성악화 = 20
• (2) 슈만(Schumann) 『시인의 사랑(Dichterliebe)』에 나타난 성악의 기악화 현상 = 24
• IV. 결론 = 29
• 참고문헌 = 32
• Abstract= 34