오페라 양식 논쟁의 경위와 배경 연구 = A study on the circumstances and backgrounds of four debates on French opera style vs Italian opera style

국문 초록 (Abstract)

18세기 프랑스에서는 이탈리아와 프랑스 오페라 양식의 우위에 관해 네 차례에 걸쳐 논쟁이 벌어졌으며, 당시 프랑스의 사회적ㆍ정치적 배경으로 인해 각기 다른 양상을 띠고 전개되었다. 본고에서는 네 차례의 논쟁을 차례로 경위와 정치적ㆍ사회적ㆍ미학적ㆍ음악적 배경에 대하여 살펴보았다.
첫 번째 논쟁은 학자들에 의해 주도되었으며 순수하게 음악적인 관점에서 다루어졌다. 두 번째 논쟁은 륄리의 전통을 지키려는 지지자와 라모의 이탈리아적인 새로운 것을 지지하는 자들과의 논쟁이었으며, 루이 14세 vs 루이 15세, 즉 구시대와 새 시대의 충돌이기도 했다. 세 번째 논쟁은 ‘부퐁논쟁’으로서 당시 급변하는 정치상황과 맞물려 복잡하고도 가장 격렬한 논쟁이었다. 기존의 바로크 양식과 새로운 로코코 양식의 충돌이라는 역사적 의의를 가진다. 마지막 논쟁은 당사자인 글룩과 피치니가 외국인이었다는 점에서 이전의 논쟁과 다른 점이라고 할 수 있는데, 결과적으로 두 나라 오페라 양식의 차이가 마침내 완화되고 결합되면서 오페라 양식에 대한 논쟁도 끝이 났다.

다국어 초록 (Multilingual Abstract)

The characteristics of early Italian Opera, born at the turn of 17th century to revive ancient Greek tragedy, was the use of recitatives for their dramas. This characteristics of early Italian opera was brought to France at early 17th century. But while Italian opera developed into a new style paying more attention to feeling, melody and vocal elegance than to a dramatic expression, French opera hold fast to original style of opera and developed different characteristics with Italian opera.
There were fours debates in the 18th century France surrounding the superiority between Italian opera and French opera. These debates had very diverse phases not only with operatic styles but with social and political circumstances and backgrounds of France in those days. In this paper, I studied those four debates on Italian opera style and French opera style in consecutive order focusing on circumstances and political, social, aesthetical and musial backgrounds.
The first debate was led by scholars and was a debate on which opera style was superior between an Italian opera which expressed rich feelings with beautiful arias and a French opera which had a good command of French accent with its recitative. It was an argument between ‘Ancients’ and ‘Moderns’. Lully’s tragedie lyrique was regarded as ‘Ancients’ with Italian opera regarded as ‘Moderns’. It was on how to view French opera- old or orthodox. The second debate was between supporters to protect Lully’s tradition and supporters of Rameau’s Italian opera style. The performance of Hippolyte et Aricie of Rameau’s opera played the momentum of the debate. It was the collision of Louis ⅩⅤ’s new era and Louis ⅩⅣ’s old era accelerating changes taking that opportunity. The third debate as the so-called ‘Buffon’s Quarrel’ ignited with Paris performance of Italian opera buffa La Serva Padrona. The argument developed complexly in connection with rapidly changing political situation and was the most violent splitting the political community into national side(including Louis ⅩⅤ and Madame de Pompadour) and Italian side(including Queen, Rousseau, D’Alembert and Diderot). In effect, Buffon’s Quarrel was a argument between the rising rococo and the dying baroque. Final fourth debate was also on the superiority of Italian opera and French opera, but it was a debate between German composer Gluck supporters and Italian composer Piccini supporters.
The fourth debate was a different nature of debate with previous ones in that the persons-concerned were foreigners. With Gluck’s opera reform which put more emphasis on the dramatic aspects of opera, the differences of Italian opera and French opera were diminished and combined.
From the study on the circumstances and backgrounds of four debates, it can be summarized that French opera developed its own style emphasizing dramatic aspect despite its influence from Italian opera. But with continuous comparison and debates with Italian opera style and French opera style, both opera styles interacted and developed together with the changes of the times.

목차 (Table of Contents)

• 〈요약〉
• Ⅰ. 서론
• Ⅱ. 본론
• Ⅲ. 결론
• 〈참고문헌〉
• 〈Abstract〉