Witold Lutoslawski 작품 Chain의 서법연구 = The Study of the Method of Witold Lutoslawski’s “Chain”

다국어 초록 (Multilingual Abstract)

The purpose and significance of this thesis is in analyzing musical style and structural beauty of new contemporary music and technical aspects revealed in pieces through Lutoslawski's pieces in later period, 'Chain' piece. Furthermore, its purpose and significance is also in examining esthetical elements to find esthetical elements in light of the style and note materials revealed in Lutoslawski's pieces.
Today, he is being considered as one of important composers in the 20th century Europe with significance influences on the 20th century music. He is a composer that is also dealing with emotional aspect including theoretical foundation instead of being excessively experimental in contemporary music. Since Lutoslawski considered the composition or design of music importantly, having solid composition including rich expressions in his pieces is one of the characteristics of his pieces. The 'Chain' is a piece in which the technical content of 'Chain' is being emphasized. Through this piece, Lutoslawski shows his own unique new composition based on an important element of style, although not being bounded by the style of traditional music of the past. Accordingly, 'Chain' piece is not a contemporary music that only pursues new things while excluding traditional things. The 'Chain' is a piece that most effectively shows how it has differently expressed phonetic value, tone, dynamic and tempo than that of music in the past, and it proceeds as if another element is connected while a certain element is in progress rather than a new element starting after another element has been completed. In the 'Chain' piece, although having slightly different moods, it brings tension through the common progression of chromatic scale and relaxes audience through the same method of recollection in traditional music with uniform composition through variety. In addition, it shows contemporary music based on tradition through anti-progressive composition, counterpoint imitation style and horizontal & vertical relation instead of new experimental style of music.
Through 'limited chance music' different from that of John Cage, Lutoslawski gives the freedom of performance to performer but presents a direction of flow or piece from becoming distracted through the limited autonomy through composer instead of vague freedom. Based on this, balance is discovered at a level higher than the order or rule that can be obtained from precise beat, through which he showed profound art that is not revealed outwardly through unseen order while feeling together the joy of nature and all things in the universe. Through the mood expression of『Chain Ⅰ』,『Chain Ⅱ』 and『Chain Ⅲ』pieces, they were found to be pieces expressed as comfortable music that could approach audiences instead of contemporary music focusing only on technical aspect while revealing the mood beauty of margin or the beauty of emptiness. In addition, he expressed new music through new structure and sound based on the frame of traditional music instead of music that excluded the frame of traditional music of the past even though it is contemporary music. Although Lutoslawski is a Western composer, beauty of the East is revealed in the moods revealed in his pieces and mental expressions.

목차 (Table of Contents)

• Ⅰ.서론 …………………………………………………………………………………………1
• 1. 연구의 의의와 목적 ………………………………………………………………… 1
• 2. 연구의 범위와 방법 ………………………………………………………………… 2
• Ⅱ.Witold Lutoslawski의 작품경향 ………………………………………………… 3
• Ⅲ.작품 Chain 의 분석…………………………………………………………………······7
• 1) Chain Ⅰ·····························································································7
• 2) Chain Ⅱ·························································································· 19
• 3) Chain Ⅲ····························································································36
• Ⅳ.작품서법과 특성·····················································································45
• 1) 작품『 Chain』 의 Idioms ·····································································45
• 2) 작품에 표출된 미적 요소들 ·································································· 48
• Ⅴ.결론 ·····································································································53
• Ⅵ.참고문헌 ·······························································································56