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아르보 페르트의 <프라트레스>(Fratres)에 나타난 음악 양식과 작곡기법
곽진향 ( Kwag Jin Hyang ) 세계음악학회 2017 음악과 문화 Vol.37 No.-
Arvo Part is one of the most representative figure in widely performed modern music and has a public popularity among contemporary composers. His influence is not only limited in classical music but extended in film and mass media as a standard repertoire. In 1976, He highlighted the basic manner of "tintinnabuli (Latin for Sounding bell)" technique with Fur Alina after a long silence period. This extraordinary and unexpected composing technique stimulates inner fullness with silence and ringing effect in acoustic environment which results spiritualism and new simplicity. His music is challenging, direct and simply expressed but its implicit lyricism often comes up an "intimacy" to audience, and brought on artistry and popularity. This article analyses Fratres fur Violine, Streichorchester und Schlagzeug for research on his tintinnabuli, musical style and compositional technique. This music is in two parts, the first part is played by unaccompanied violin solo with cadenza style combined with minimalism, and the second part is passacaglia and seven variations with violin solo, percussion and string orchestra. In this work, minimalism and neoclassicism are systematically combined with tintinnabuli technique. According to observation, his "new simplicity" with tintinnabuli is derived from combinations of several elements which are in the followings. 1) M-voice is constructed with four types of diatonic scales. 2) T-voice is started with simple triads and then is gradually expanded. 3) M-voice is always comprised on a pitch center with ascending and descending motion. Therefore, every note is facing on a pitch center even if modes are altered. M-voice, a role of melodic line, always moves in stepwise motions, so the main melodies produce vocal quality of melodic lines in the lowest pitch of triads in violin solo at the first part, and the same is true in the theme of passacaglia at the second part of music even if this music is in instrumental piece. Indeed, melodic lines produce both two paths of lyricism and simplicity which are simultaneously appearing. Therefore, singable, memorable melodic lines give an intimacy to audience. In this research, the characteristics of neoclassicism and minimalism manifest in Fratres. However, he applied those styles with his new formal principle which is comprised with additive of beats, use of added tone, mixture of M-voice and T-voice, confliction of two mode, transformation of thematic line in passacaglia. Especially, melodic line is extremely emphasized among on repetitive triads in minimalism, added tone and mixture of modes for polarity is superimposed with basic manner of titinnanuli technique. In his music we are able to find many compositional techniques and styles of western music such as minimalism with repetition of triads and specific patterns, usage of polarity in neoclassicism, Neo-Renaissance with configuration method of M-voice, Neo-Baroque with passacaglia and even medieval technique of palindrome. His music reflects many compositional techniques of former eras but he did not simply follow their styles. He combined it with his new method of titinnabuli so each traditional styles are reborn with his own style and originality.
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