Browse

J.S.Bach의 Cantata (BWV84)와 (BWV204)의 분석 연구

DC Field Value Language
dc.contributor.advisor서혜연-
dc.contributor.author박수진-
dc.date.accessioned2018-12-03T01:46:13Z-
dc.date.available2018-12-03T01:46:13Z-
dc.date.issued2018-08-
dc.identifier.other000000153503-
dc.identifier.urihttps://hdl.handle.net/10371/143950-
dc.description학위논문 (석사)-- 서울대학교 대학원 : 음악대학 음악과, 2018. 8. 서혜연.-
dc.description.abstract현재 우리는 음악사를 배울 때에 고대로 시작하여 그 후 중세, 르네상스, 바로크, 고전, 낭만으로 이어져 현대에 이른다. 그 중 바로크 시대의 음악은 현 시대 한국에서 공부하는 음악 학도들이 연주자로서 시대적으로 처음 접하는 음악이다. 하지만 바로크 시대 음악을 공부하고 연주하며 그 중요성이 높다는 점에 비하면 바로크 시대 음악에 대한 관심이 현저히 낮은 것으로 생각되며 더욱이 관찰과 시도를 통해 연구해야 할 필요성을 본인이 느끼는 바이다. 또한 오페라 장르라고 하더라도, 바로크보다는 고전 및 낭만 음악에 치우친 연주 경향이 있으며 교회 음악 분야에서도 오라토리오 및 수난곡 위주의 연주를 주로 볼 수 있고, 사실상 칸타타(Cantata)라는 장르의 연주는 거의 찾아보기 어렵다. 물론 그 이유가 타 장르에 비해 칸타타는 바흐 이후 거의 발전하지 못했다는 점을 들 수 있다. 그럼에도 본인은 이러한 현실 인식에 의문점을 가지고 바로크 시대 작곡가이자 칸타타를 절정에 올려놓은 요한 세바스찬 바흐(Johann Sebastian Bach, 1685~1750)의 칸타타 작품에 대해 연구를 하고자 한다.

본 연구를 위해 먼저 바로크 시대의 시대적 배경 및 칸타타의 기원과 발전 양상에 관하여 이해하고, 바흐의 음악적 특징을 바흐가 활동했던 시기별로 분류하여 그에 따른 바흐의 작곡기법 및 칸타타 작품의 발전을 알아보고자 한다. 본 논문에서는 이를 기반으로 바흐의 소프라노 솔로 칸타타 작품 중 교회 칸타타인 (BWV 84)와 세속 칸타타인 (BWV 204), 이 두 작품을 선정하여 작품의 텍스트와 구조, 화성 및 리듬 등을 분석하여 연주 및 연구에 도움이 되고자 한다.

주요어 : 바로크, 바흐, 솔로칸타타, 종교, 세속, 소프라노
-
dc.description.tableofcontents목차

국문초록 ·········································································································ⅰ

악보목차 ········································································································ⅳ

표목차 ···········································································································ⅵ

Ⅰ. 서론 ···········································································································1

Ⅱ. 본론

1. 바로크 시대

1) 바로크 시대의 음악 ·································································3

2. 칸타타의 이론적 배경

1) 칸타타의 기원 ···········································································9

2) 칸타타의 발전 ·········································································10

3. J.S.Bach 의 음악과 삶

1) J.S.Bach의 생애 ·····································································12

2) J.S.Bach의 음악적 특징과 칸타타 ·····································14

4. J.S.Bach의 솔로 칸타타 ······························································25

1) BWV 84 분석 ········································································39

2) BWV 204 분석 ······································································56

Ⅲ. 결론 ·····································································································100

참고문헌 ····································································································104

ABSTRACT ·····························································································106



악보목차

: 1~4마디, 아리아 주선율 ·····················································35

: 25~28마디, 아리아 주선율 ················································35

: 32~36마디, 지속저음 ··························································36

: BWV84의 제 1 아리아 ·······················································37

: BWV84의 제 1 레치타티보 ···············································41

: 1~8마디, 아리아 주선율 ·····················································45

: 24~32마디, 아리아 주선율 ················································46

: 27~30마디 동일한 멜로디와 리듬 반복 사용 ···············46

: 37~43마디 경과구로 사용된 부분 ···································47

: 109~113마디, 149~152마디 멜리스마적 사용 ········48

: BWV84의 제 2 아리아 ····················································49

: BWV84의 제 2 레치타티보 ············································53

: BWV84의 코랄 ···································································55

: BWV204의 제 1 레치타티보 ··········································59

: 1~4마디 : 아리아 주선율 ················································62

: 39~41, 51~54마디 : 성악부의 지속음 ·······················62

: 145~152마디 : 성악부의 지속음 사용 ························63

: 137마디, N6 ·······································································64

: 173마디 : 피카르디 종지 ·················································64

: BWV204의 제 1 아리아 ··················································65

: BWV204의 제 2 레치타티보 ··········································69

: 3마디 반주부, 당김음이 사용된 부분 ····························73

: 9마디 성악부, 당김음이 사용된 부분 ····························73

: 25~27마디, Dominant 7 ·················································74

: 48~50마디 : Dominant 7 ···············································75

: 75~77마디 : Dominant 7 ···············································75

: BWV204의 제 2 아리아 ··················································77

: BWV204의 제 3 레치타티보 ··········································83

: 8~9마디 : 의도적으로 늘려진 리듬 ······························86

: 18~19마디 : 비화성음의 해결 ·······································87

-
dc.description.tableofcontents1~3마디 : Fl obbligato, 지속저음 ································88

: BWV204의 제 3 아리아 ··················································89

: BWV204의 제 4 레치타티보 ··········································93

: 1~7마디 : 아리아 주선율 ················································95

: 7~16마디 : 아리아 주선율 ··············································95

: BWV204의 제 4 아리아 ··················································96





표 목차

: Soprano를 위한 솔로 칸타타 ················································27

: Alto를 위한 솔로 칸타타 ························································28

: Tenor를 위한 솔로 칸타타 ····················································28

: Bass를 위한 솔로 칸타타 ·······················································28

: 마태복음 20장 1-16절 ··························································31

: BWV84와 BWV204에 나타난 다 카포 아리아 형식 ····101
-
dc.formatapplication/pdf-
dc.format.mediumapplication/pdf-
dc.language.isoko-
dc.publisher서울대학교 대학원-
dc.subject.ddc780-
dc.titleJ.S.Bach의 Cantata (BWV84)와 (BWV204)의 분석 연구-
dc.typeThesis-
dc.description.degreeMaster-
dc.contributor.affiliation음악대학 음악과-
dc.date.awarded2018-08-
Appears in Collections:
College of Music (음악대학)Dept. of Music (음악과)Vocal Music (성악전공)Theses (Master's Degree_성악전공)
Files in This Item:
  • mendeley

Items in S-Space are protected by copyright, with all rights reserved, unless otherwise indicated.

Browse