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- 저자 : 오이돈 (검색결과 3 건)
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오이돈 한국음악학회 1997 한국음악학회논문집 음악연구 Vol.15 No.1
Bartok's "Chromatic Invention", No.91 of the Mikrokosmos, Vol.3, is characterized by chromaticism and imitative style, as its title tells. There is no typical "invention form" which one can apply to all inventions. According to Thomas Benjamin, 'invention' is a procedure rather than a form. Originally, 'invention', as in Bach's inventions, is a 2-voice contrapuntal work in which a theme or a motive is manipulated by imitation and other contrapuntal devices. In this paper, Bartok's "Chromatic Invention" is analyzed with the emphsis on the interval content of the thematic line and its manipulation and application in the canonic process of the music.
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오이돈,채경화 한국음악학회 2000 한국음악학회논문집 음악연구 Vol.21 No.1
This is a comparative study of the piano accompaniment of German Lied or art-song from Schubert, who is the establisher of art-song as a pure musical genre, through R. Strauss to the Second Viennese School composers: Schoenberg, Webern and Berg. The main focus is on the observations and discussions of the piano accompaniment, which is very important to art-song, along with the concepts, definitions and developments of it. In the nineteenth century, art-song became to get a great historical significance by Schubert and Schumann, and accomplished many developments. The various types and techniques of the piano accompaniment of art-song in Romantic Period influenced greatly the development of modern art-song. It was R. Strauss of the late nineteenth century who made the piano in art-song very independent and become equal partner to vocal part. The independent role of piano accompaniment in Romantic art-song led to the creation of new type of modem art-song in the twentieth century. Following R. Strauss, the representative composers of modern artsong such as Schoenberg, Webern, and Berg showed us an independent and yet balanced piano part far beyond the general concept of accompaniment as a subsidiary part. The development process of western art-song, especially the evolution of the various types of piano accompaniment, through the process of change in our own "western" art-song which was greatly affected by German Lied, provides a clear and correct understanding on the genuineness and legitimacy of our own "western' art-song and also shows a definite direction to contemporary art-song.
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