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- 저자 : 원유선 ( Won Yuseon ) (검색결과 2 건)
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작곡가 이돈응의 로봇음악 연구: 드로봇(dRobot)을 중심으로
원유선 ( Yuseon Won ) 연세대학교 음악연구소 2023 음악이론포럼 Vol.30 No.1
본 논문은 한국 현대음악 역사상 최초로 발표된 작곡가 이돈응의 드로봇이 21세기의 창작음악에 시사하는 바에 대해 고찰한 연구이다. 이 글에서 필자는 드로봇이 21세기의 기술적 시류에 편승하려는 목적에서 등장한 것이 아니라, 이돈응이 1980년대부터 약 40년간 추구해온 ‘인간적인 전자음악’이라는 미학적 모토가 궁극적으로 집약된 산물이라는 것을 주장하고자 하였다. 이를 위해 이 글은 먼저 드로봇의 음악을 가능케 한 이돈응의 작품세계를 자세히 들여다보고, 드로봇이 현시대에 갖는 독자적 의의를 파악하기 위해 18세기부터 현재까지 연주하는 로봇의 역사를 면밀히 살펴보았다. 이후 드로봇의 제작과정과 예술적 원리, 대표작을 상세히 짚어보면서 기술의 주체적인 사용과 고도의 수공예적 테크네를 통해 완성도 있는 소리를 만들어나가는 드로봇의 음악적 의의에 대해 논의하였다. This study explores the implications of dRobot, the pioneering composition by composer Lee donoung, as it relates to contemporary music in the 21st century within the context of Korean contemporary music history. The author argues that dRobot is not simply a result of the technological trends of the 21st century, but a culmination of Lee’s aesthetic of “human-like electronic music,” which he has pursued for almost 40 years since the 1980s. To support this argument, this paper closely examines Lee Donoung’s musical works that led to the creation of dRobot, as well as the history of robots performing music from the 18th century to the present day. Additionally, the paper delves into the process of creating dRobot, analyzing its representative works and discussing its artistic value in creating technically masterful performances through the subjective use of technology and exquisite craftsmanship.
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현대음악과 오락영화의 탈경계적 상상력: 니콜 리제의 ≪타란티노 에튀드≫ 연구
원유선 ( Won Yuseon ) 서울대학교 음악이론연구 2021 음악이론연구 Vol.37 No.-
This is a study on Tarantino Etudes by Nicole Lizee, a contemporary music composer in Canada. Tarantino Etude was based on the movie of Quentin Tarantino who is a master of the entertainment movie territory in the US and shows a trans-boundary attempt in which the unique cinematic techniques and aesthetic characteristics of Tarantino are transformed and amplified to music going beyond from simply citing Tarantino’s movies. This study explored the attempts of which the cinematic world of Tarantino is combined with music in three ways such as formation, citation, and the interaction between live musical instruments and video clips. The chronologic narrative structure of Tarantino, which disassembles the traditional narrative structure, appears as a way that many episodes are handled simultaneously and collided, in terms of the overall configuration and detailed composition of the work. The structure in which finely split episodes are frequently transitioned each other provides a type of pleasant funs, deviating from a fixed formal frame. In addition, the work implements a nostalgia for analog of Tarantino in a way that distorts the materials cited in movies using digital software. The playing technique of a bass flute, which was used as a live musical instrument, is well harmonized with the contents of the video clip, thereby maximizing the violence, satire, and humor that were unique specialties of Tarantino. These characteristics resonate with the contemporary culture that freely causes the inter-media convergence due to technological advancement, and they are also presenting a pleasant aesthetic sensibility, at the same time, deviating from the solemnity that was fixated as a unique image of the contemporary music.
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