Gustav Mahler의 교향곡 제5번에 나타난 <개파, 추락, 에피소드>형식에 관한 연구
저자
발행사항
서울 : 숙명여자대학교 대학원, 2004
학위논문사항
학위논문(석사)-- 숙명여자대학교 대학원 : 작곡학과작곡전공 2004. 8
발행연도
2004
작성언어
한국어
주제어
발행국(도시)
서울
형태사항
66p ; 26cm.
소장기관
Mahler could be considered as a representative composer of the latter period of romanticism in Germany, working over the end of the 19th and the beginning of the 20th century. There are various explanation and analysis of his music by different view of scholars, theorist, composers as well as performers. As you see and widely acknowledged, the world of Mahlers music consist with complicate structure that is not easy to analyse by existed forms. Nonetheless, later, Adorno (Theodor Wiesengrund Adorno, 1903-1969) has tried to analyse Mahlers music by the forms of Durchbruchs, Absturz, and Episode. Moreover, after attempting of Adorno, Mahlers music has been more accurately understood and explained.
The aim of this study was to provide a better understanding for Mahlers music by adopting those three forms of Adorno. In order to achieve the aim of this study, those three forms have applied to Mahlers first, second, and third movement of symphony No. 5 As mentioned earlier, the first tool of Adorno in order to explain Mahlers music is Durchbruchsform. It could be described and explained with terms of victory and conquest. There are two strong attempt of Durchbruchsform on the second movement of Mahlers symphony No.5 which adopted the first movements motive. The first try has appeared between the 234th and 315th measures. For a short time, the attempting is connected to A moment flash (from 316th to 322th measures). However, from the 323th measure, movement of the music suddenly meets with despaired part which is considered as Absturzform and the movement of his work returns to the beginning. The second attempt has appeared between the 428th and the 463th measures. This eventually joins to a magnificat Choral and it reaches to the point of Durchbruchs. At this point, in general, the purpose of Mahlers symphony No. 5 could be seen as a conquest. However, although there is a play of wind-instruments delightful Choral, it suddenly connect to despairing absturz. It could be explained with that the purpose of Mahlers symphony No.5 is not victory but it closes to hopeless.
The second tool of Adorno is Absturzform which is a representative form of the second movement in symphony No.5 of Mahler. It could be understood as despair which repeats over the whole movement as a transformed form. It appeared between main part and sub part or between sub part and main part. If the second movement was composed as strophic form, which is consists of main and sub parts, and repeatedly replaced as a transformed form, in this point, Absturzform can be considered as a tool for a connection between main and sub parts or it can be used as a border line which clearly divide each part.
The last tool of Adorno is Episodefrom which is shown off on the part of scherzo (the third movement). The Episode of Mahler cannot be separately understood without understanding of the whole symphony. It has often appeared on the music of Mahler, considering a typical form of his music. Horn Episode in the third movement is based on scherzo form and it reflects poetical character that correspond with nature of the Episode.
In summary, musicians have only focused on finding and addicting musical unity by the form of sonata which is a represent form of the classic over the last 150 years. As can be seen from the view of the researchers, who studying Mahlers music, in these days, the form of sonata has been gradually changed. Disappearing of a traditional form could be thought of appearing a new form. At this point, Mahlers music can be seen as a persistent struggling toward tradition. In addition, with the mentioned reasons, of Mahlers music that implies both-sided (tradition and modernity) of music form can be viewed as a challenge towards modernity as well as accompany tradition.
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