베르크의 오페라 ≪보체크≫ 다시 읽기: 슈말펠트의 집합 복합관계도에 대한 해석학적 접근 = Rereading Berg’s Opera Wozzeck: An Hermeneutical Approach to the Schmalfeldt’s Analysis of Set Theory

다국어 초록 (Multilingual Abstract)

Set theory established by Allen Port is mainly used to explain the syntactic structure of music. In this paper, I propose a new interpretation by combining the Schmaldfeldt’s analysis using set theory with recent views of Büchner’s drama. The set-complex shows the relation of 36 meaningful sets in opera, among which 3 nexus sets, SC4-18, SC6-34, and SC6-Z19/Z44 are derived. SC6-34, which is related to the cadential chord of each act and chapter, is a background symbolizing modernity, an important theme in opera, and can be said to be a structure that signifies the modern world. Since SC4-19, which means Wozzeck, is connected to this set by the Kh relationship, Wozzeck is a part of the modern structure that is reduced to modernity. However, Marie set SC4-18 exists as an independent set that does not have Kh relationship with SC6-34. In addition, by reinterpreting the character of the set of pitch types of the characters in the opera, Wozzeck’s set of pitch class reveals Wozzeck’s single identity, which insists on only one world of poverty, the typical characteristics of modern humans such as uniqueness, identity, and masculinity. On the other hand, Marie’s pitch class has a character that is not reduced to one set while forming a plurality of sets. This is Marie’s naive yet faithful mother, revealing her sexual desire without hesitation, that is, various relational aspects that change from moment to moment and are not reduced to one characteristic, represent post-modern humanity living in the modern world. This point of view on the complex relationship of sets and the nature of the set of music classes reverses the traditional interpretation that Marie provided the decisive cause of tragedy, and suggests that the cause of tragedy lies in Wozzeck’s modernity, which is poverty and insists on a single identity.

참고문헌 (Reference)

1 McClary, Susan, "페미닌 엔딩" 예솔 2015

2 장순란, "탈근대 인식론적 관점으로 본『보이첵』- 시민 보이첵의 비극적 삶" 한국독일현대문학회 (33) : 5-32, 2009

3 Déleuze, Gilles, "차이와 반복" 민음사 2004

4 박재성, "집합이론의 역사적 배경과 기본원리에 관한 연구" 7 : 315-374, 1993

5 장순란, "젠더연구의 관점으로 본 뷔히너의 <보이첵> - 극중 인물 ‘마리’의 죽음을 중심으로" 한국독일현대문학회 (35) : 45-72, 2010

6 안정순, "오페라 ≪보체크≫를 통해 본 베르크의 드라마 『보이체크』 독해: 마리의 다양한 관계적 정체성을 중심으로" 한양대학교 2022

7 장순란, "뷔히너의 정치적 문화적 삶의 인식론적 고찰" 7 : 7-27, 1994

8 양우탁, "뷔히너의 『보이첵』과 호프만스탈의 『목가』" 한국독일현대문학회 (21) : 7-32, 2003

9 Büchner, Georg, "보이체크 (Woyzeck)" yenee 2005

10 안소영, "무조음악의 질서와 아름다움" 한국서양음악학회 8 (8): 37-60, 2005

11 박재성, "무조음악의 분석방법들에 관한 연구" 3 : 315-373, 1999

12 안소영, "무조음악분석 : 집합이론의 적용과 실습" 심설당 2008

13 Ross, Alex, "나머지는 소음이다" 21세기 북스 2000

14 Grout, Donald J., "그라우트의 서양음악사 (하)" 이앤비플러스 2009

15 Berg, Alban, "Wozzeck Vocal Score" Universal Edition 1958

16 Forte, Allen, "Tonality, Symbol, and Structural Levels in Berg’s Wozzeck" 71 (71): 474-499, 1985

17 Forte, Allen, "The Structure of Atonal Music" Yale University Press 1973

18 Taruskin, Richard, "The Oxford History of Western Music" Oxford University Press 2019

19 Perle, George, "The Opera of Alban Berg Wozzeck. Vol. 1" University of California Press 1980

20 Jarman, Douglas, "The Music of Alban Berg" Faber & Faber 1979

21 Forte, Allen, "The Harmonic Organization of “The Rite of Spring”" Yale University 1978

22 Lewin, David, "Re: The Intervallic Content of a Collection of Notes, Intervallic Relations between Collection of Notes and Its Complement: An Application to Schoenberg Hexachord Pieces" 4 : 98-101, 1960

23 Schmidt, Henry, "Henry J. Schmit’s Translation of Georg Büchner’s Woyzeck" Bard Books/Avon 79-116, 1969

24 Jarman, Douglas, "Berg’s ‘Wozzeck’: Harmonic Language and Dramatic Design by Janet Schmalfeldt" 65 (65): 294-296, 1984

25 Schmalfeldt, Janet, "Berg’s Wozzeck : Harmonic Langage and Dramatic Design" Yale University Press 1983

26 Jarman, Douglas, "Alban Berg Wozzeck" Cambridge University Press 1989

27 Forte, Allen, "A Theory of Set-Complexes for Music" 17 (17): 136-183, 1964