바로크가곡의 음악사적 연구 : 초기 이태리 가곡을 중심으로 = The Study of Baroque Songs in the Music History

다국어 초록 (Multilingual Abstract)

Baroque songs were presented in the end of 16th century by Camerata in Florence, Italy developing monody which emphasized rhyme and accent against the polyphony of Renaissance. This monody was applied to solo madrigal, solo cantata and various types of aria including lute songs in Renaissance period. The term 'Baroque Song' was not given in Baroque period, it was given name in the course of collecting the vocal forms of those days by modern editors. Hence, 'Baroque Song'is not the appropriate term in the view point of music history.
As Baroque songs were written in incomplete forms of monodic style, they differ from art songs of classic and romantic periods which were composed in complete forms. The perfomers in Baroque period improvised by ornamenting and harmonizing the music of this incomplete forms to make the forms complete. On the other hand, the performers nowadays depend on editors' revised versions. Although modern editors are publishing Baroque songs based on the original texts, it is not seldom to find versions of inadequate Baroque songs which do not reflect the characteristics of Baroque music. As performers absorb this modern versions of Baroque songs, their performances do not carry sufficient features of Baroque music. Under these circumstances, Baroque songs have kept away from repertoires of concerts. Consequently, audience has no opportunity for appreciationg Baroque songs.
Furthermore, majority of music colleges in Korea do not offer classes regarding the advanced techniques of Baroque songs and Baroque songs taught in lower division classes are only dealt briefly. In short period of time, we can not expect the performances of professional musicians which are true to characteristics of Baroque songs.
As is stated, the early Baroque songs are written in monodic forms which consist of melody and basso continuo. According to performing custom of those days, vocalists should have the ability to modify and/or embellish the melody, and likewise, accompanists to harmonize basso continuo line by improvisation.
Vocalists ought to apprehend the general characteristics of Baroque vocal music and song with the controlled volume (not excessive one) in consideration of register or progression of melodies. All the more, they ought to express their own feelings through natural dynamics, not wholy depending on editors.'
Accompaniment for Baroque songs should be performed on harpsichord which was in common use of that period instead of on piano which was relevant to the idioms of Romantic music.
It is recommended to use continuo accompaniment on ensemble with violin, flute, and bass instruments such as cello, bassoon including harpsichord, if possible.
In summary, the effect of performance of Baroque songs could be reached to an extreme when it reflects the Baroque characteristics-ornamentation of melody, controlled vocalization, and continuo instrumental accompaniment.
The performance of Baroque songs must be none other than Baroque itself.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 바로크 가곡의 역사적 배경
• Ⅲ. 바로크 가곡의 종류
• 1. 류트 가곡
• 2. 솔로 마드리갈
• 3. 솔로 칸타타
• 4. 아리아
• Ⅳ. 바로크 가곡의 연주 해석
• 1. 선율
• 2. 반주
• 3. 악상
• Ⅴ. 결론
• 영문초록
• 참고문헌