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베토벤(L. v. Beethoven) 현악4중주 Op. 133의 박자에 대한 연구: 크렙스의 박자 불협화 이론을 중심으로
연윤숙 ( Yoonsuk Yeon ) (사)음악사연구회 2021 음악사연구 Vol.10 No.-
This thesis is a study on the characteristics of the meter and rhythm technique of Grosse Fuge Op. 133. In the double fugue of this work, syncopation plays a very important role, but a clear interpretation of the double fugue was difficult due to the absence of a tool that could explain the systematic development of syncopation. However, a recent theory on rhythm and meter, Harald Krebs' metrical dissonance, can explain the systematic development of syncopation. And using this theory, it was possible to reveal the characteristics of the rhythm and meter technique of double fugue of Op. 133. Its main characteristics were that the composition technique of the theme and motive mainly related to tonality was elaborately applied to the rhythm and meter, and the dissonance of the meter engraved in the theme of the double fugue was gradually strengthened systematically. And although the metrical dissonance of the gradually strengthened theme reached its apex in the development section, it was not resolved by metrical consonance, and was maintained and strengthened in the recapitulation as well. In other words, by opposing the principle of resolving metrical dissonance with metrical consonance and the coexistence of metrical dissonances, the possibility of extension of the form was also revealed by giving the meaning of a formal conflict. This was also a major characteristic of the work. So Beethoven uses rhythm and meter in an innovative and original way in double fugue of Op. 133, and all these discussions were possible through Krebs' metrical dissonance (theory) in time.
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슈만 《유머레스크》(Humoreske, Op. 20, 1838-1839)의 들리지 않는 노래
서정은 ( Seo Jeong-eun ) 이화여자대학교 음악연구소 2023 이화음악논집 Vol.27 No.2
The metrical dissonance between voices by displacement dissonance is one of Robert Schumann’s characteristic compositional techniques. The ‘Innere Stimme’ section of his Humoreske Op. 20 contains displacement dissonances between both different melodies and the same melodies, the latter of which is also called ‘Ungenaues Unisono’ or ‘Heterophony.’ This seems to be a precursor to the above two characteristics that will be presented in many of Schumann’s Lieder composed in 1840, shortly after the composition of Humoreske. In order to examine the meaning of ‘innere Stimme’ and the continuity of compositional technique from the piano piece to Lieder, this article compares the ‘innere Stimme’ section of Humoreske and various Lieder of 1840. It is also discussed that the ‘soundless song’ as the principal melody of ‘innere Stimme’ section is externalized as ‘audible songs’ in the Lieder composed the following year.
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