한국 예술음악의 위기 : 서양음악의 미래에 대한 역사적 조망 A Historical Perspective on the Future of Western Music = Music in Crisis in Korea

다국어 초록 (Multilingual Abstract)

The aim of this essay is to show that Western music is on the verge of breaking through a four hundred year old tradition in equal temperament and to provide that Korean artist with the historical awareness to join the creative adventure.
The first part of this essay concentrates on the twentieth century development of music in the West, beginning with Schoenberg's 12­tone concept, and including Webern's timbre concept of Fu¨nf Satze fu¨ Streichquartett, Op. 5[Ex. 1], Boulez's total serialization [Exx. 2.1, 2.2, 2.3 and 2.4], and Babbitt's time­point system [Exx. 3.1, 3.2 and 3.3] and combinatorial concept. These seemingly different concepts have all contributed to the atomization of musical parameters, the direct prelude to electronic and computer music. This analytic approach to music has not been fully appreciated in Korea.
Cited examples of early electronic music include Varese's Poe｀me e´lectronique, Babbitt's Philomel, and Davidowsky's Synchronisms. A survey is made of the brief history of computer music from Mathews to Csound. The basic physics of sound including wave form [Fig. 1], amplitude envelope [Fig. 2], spectral envelope [Fig. 3], and sampling theorem [Fig. 5] are explained, along with the algorithm of Music 5 [Fig. 6] by Mathews followed by a brief description of additive [Fig. 7], subtractive [FN #18], FM[FN #20], and speech syntheses [Fig. 8]. The scientific investigation of random probability in music made possible by computers, tracing its root to Cage's use of the I­ching, has resulted in Mandelbrot's spectral noises followed by White [Fig. 9.2 and 10.1], Brownian [Fig. 9.2 and 10.2], 1/f[Fig. 9.3 and 10.3], and fractal music [Fig. 13]. The evolution of different tuning systems by Ives, Hava, Parch, Yasser, Sims and Carlos will only accelerate with the use of computers.
In the second half of the essay, Riemann's reinterpretation of phrase structures in Beethoven's Piano Sonata in E, Op. 90/Ⅱ [Exx. 4. 4.1, and 4.2], and in Mozart's Piano Sonata in A, K.V. 311 [Exx. 5, 5.1, and 5.2] is proven incorrect as are ten different editions of Beethoven's Piano Sonata No. 13, Op. 27 [Ex. 6]. Theoretical knowledge of tonal music clarifies the justification of the original phrasing marks in both Mozart's and Beethoven's works. Musical expression is also shown to depend upon the theoretical interpretation of the piece as illustrated by Schoenberg's Klavierstu¨ck, Op. 33a [Ex. 7] and Three Songs, Op. 48/Ⅱ [Ex. 8]. An analysis of Schoenberg's Sechs kleine Klavierstu¨cke, Op. 19/Ⅵ and Verdi's Ave Maria [Ex. 10.1] demonstrates the importance of the germ motif upon the eventual form of the piece. In order to advance the germ motif to the structural level, an understanding of 288 different pitch functions in tonal music is required, and 479,001,600 in 12­tone music.
By viewing the development of Western music, Korean education should break from its traditional teaching methods and should emphasize the solution of musical problems through the use of appropriate musical theory and not through emotional interpretation. Unless the direction of musical education in Korea dramatically change from mass to individual instruction, music in Korea cannot escape from its age old crisis in creativity.