드뷔시의 피아노 음악에 나타난 케이크워크의 수용 양상 = A Study on the Acceptance Aspect of Cakewalk in Debussy’s Piano Music

국문 초록 (Abstract)

미국 남부 흑인들의 춤에서 그 유래를 찾을 수 있는 케이크워크가 19세기 말 프랑스로 유입되었다. 케이크워크의 춤과 음악은 20세기 초 프랑스 파리를 중심으로 엄청난 인기를 누렸으며, 이러한 열풍을 반영하듯 클로드 드뷔시도 자신의 여러 작품에서 그 양식을 적극적으로 수용하고 있다. 본 논문은 당시 케이크워크가 프랑스로 유입된 배경과 유입을 통한 사회, 문화적 파급 현상에 대해 고찰해보고 아울러 드뷔시가 실제로 접했을 법한 케이크워크 <휘파람 부는 루퍼스>, <스모키 모크스>, <무지개 길을 건너>의 세 곡을 바탕으로 그 양식적 특성에 대해 논의해본다. 케이크워크 양식이 반영된 드뷔시의 피아노 작품 ‘골리워그의 케이크워크’, ‘괴짜 라빈 장군’은 양식에 대한 정통함을 보여주면서도 선율 구조, 차용 선율, 악곡 형식 등에 있어 각기 다른 접근방식을 취하고 있다.

다국어 초록 (Multilingual Abstract)

In the early twentieth century, cakewalk music found its way to France, originally via a military band at the 1900 Paris World Exhibition. With its characteristic syncopated rhythm, cakewalk’s popularity was phenomenal in the capital. With the subsequent arrival of an American dancing troupe not long after, Parisians experienced the new type of entertainment once again, and this time, danced to cakewalk. The dance had enjoyed tremendous success in Paris and it was against this social and cultural background that Claude Debussy encountered the syncopated cakewalk music. His highly receptive approach to this American music was demonstrated in his piano pieces such as ‘Golliwogg’s cakewalk,’ the sixth piece of his piano suite <Children’s Corner>; ‘The Little Nigar,’ the short piece written in 1909; ‘Minstrel,’ the twelfth piece in his <Prelude I>; and ‘General Lavine - excentric,’ the sixth piece in his <Prelude II>. This paper addresses in detail the background of the influx of cakewalk to France and the way in which it reshaped the French cultural scene in the early twentieth century. Debussy, with clear reference to the cakewalk style in general, adopted a different approach in composing his piano pieces. ‘Golliwogg’s Cakewalk’ and ‘General Lavine – excentric’ reflect Debussy’s versatility and imagination as a composer in combining musical and extra-musical sources. By analyzing these pieces in detail, this study illuminates a different approach to dealing with form, phrase structure, and harmony and aims to provide a broader spectrum on which to understand Debussy’s music.

참고문헌 (Reference)

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