모차르트의 오페라 ＜마술피리＞에 대한 연구 : 자라스로의 아리아를 중심으로 = An Analytic study of opera ＜Die Zauberflöt＞ by Wolfgang Amadeus Mozart

다국어 초록 (Multilingual Abstract)

From the Zauberflöte(magic flute), that was composed by Mozart(WolfgangAmadeusMozart, 1756～1791) who composed opera most in Classical period, Mozart's last opera and a kind of Singspiel as well, Sarastro's two arias ‘O Isis und Osiris’(Oh! Gods, Isis and Osiris) and ‘In diesen heil'gen Hallen’(In these holy halls) were taken and analysed in terms of music content, musical characteristics, form structure and melodies etc. And following conclusion is obtained after analyzing Zauberflöte's musical characteristics
Firstly, ‘O Isis und Osiris’(Oh! Gods, Isis and Osiris) is in Adagio, F Major and 3/4 time. It starts with an incomplete bar owing to the lyrics and its overall form takes A-B-C structure.
‘In diesen heil'gen Hallen’(In these holy halls) is in Larghetto, E Major and 2/4 time. It starts with an incomplete bar and its overall form is A-B structure. B part is twice the scale of A part but it takes varied form aab (3 clauses).
Secondly, in ‘O Isis und Osiris’(Oh! Gods, Isis and Osiris) the chords Ⅰ-ⅱ-Ⅰ46-Ⅴ7-Ⅰare used overall that are simple chords leading complete cadence. However, whenever clauses are repeated, a chord is added to give variations and the music maintains unity by using appoggiatura and suspended chord.
In ‘In diesen heil'gen Hallen’(In these holy halls) more complex chords are used, and it is more developed than the previous music in terms of composition. The stream in counter line in nonharmonic tones and the accompaniment gives musical vitality.
Thirdly, as for performances, in ‘O Isis und Osiris’(Oh! Gods, Isis and Osiris) attention should be given to breath as there are many leaps at beginning melody. Tensions should be maintained until the end of the music for the earnest pray to God. It is good to express the dynamics and changes in theme that are not described on the score to meet lyrics. Since ‘In diesen heil'gen Hallen’(In these holy halls) is somewhat bright and hopeful, it should be sung brightly and lightly putting more vitality but the balance should be maintained with orchestra in the parts where they melodically give and take each other.
Finally, by studying two different arias in an opera it would be helpful in applying this kind of studying method to future studies.

목차 (Table of Contents)

• Ⅰ. 서 론 1
• 1. 연구목적 1
• 2. 연구방법과 범위 2
• Ⅱ. 본 론 3
• 1.Wolfgang Amadeus Mozart 3
• 1) 시대적 배경 3
• 2) 생애와 그의 음악적 특징 6
• 2.모차르트 오페라의 개관 10
• 1) 모차르트의 오페라 10
• 2) 모차르트와 징슈필 18
• 3) 모차르트 오페라의 레치타티보 18
• 3.오페라 마술피리(Opera <Die Zauberfl&ouml;te>) 22
• 1) 작곡배경 22
• 2) 줄거리 및 등장 인물 소개 24
• 3) 마술피리와 프리메이슨 32
• 4) 주요 아리아와 중창들 34
• 5) <마술피리> 초연의 반응 36
• 4.자라스트로(Sarastro) 아리아 분석 39
• 1) O Isis und Osiris(오! 이지스와 오지리스 신이여) 39
• 2) In diesen heil'gen Hallen(이 성스러운 전당에서는) 51
• 5. 관현악 편성 및 주요 음반 64
• Ⅲ. 결 론 67
• 참고문헌 69