배빗 음악의 전경층과 후경층에 제시된 음렬 기법: Post-Partitions (1966)과 Play It Again, Sam (1989)의 분석을 중심으로 = Babbitt's Structural Design for a Twelve-Tone System: Characteristics between background and foreground as shown in 'Post-Partitions (1966)' and 'Play it Again, Sam (1989)'

다국어 초록 (Multilingual Abstract)

Milton Babbitt(1916-2011), one of the most influential figures in the landscape oftwentieth-century music, exploits many of the techniques of twelve-tone composition, some ofwhich were inherited from Schoenberg and Webern and some of which he launched himself. It isoften asserted that in Babbitt’s twelve-tone music the details on the surface are derived from theseries of the array and thus the collections or fragments of the array, namely that some elementschosen from the components of the array should be on the musical surface. The compositionsespecially after the second period(1961-), those based on the all-partition arrays or superarrays,however, do not seem to present the array components since they are both temporally dispersedand also intertwined with other lines in their registers. The array is realized on the surface either ina wide variety of manners or in a fleeting way and thus the background structure no longerappears valid at this surface level. Therefore this paper examines the hierarchic structure of thearray, the background idea, and the details on the surface, or foreground statements. Two analysesof sections from Babbitt's Post-Partitions(1966) and Play it Again, Sam (1989) not only explorevarious techniques that he pioneered but also demonstrate the wonderful balance found betweensets, musical elements and even structural levels which made his compositions distinctive and significant.

국문 초록 (Abstract)

밀턴 배빗(Milton Babbitt, 1916-2011)은 20세기 음악, 특히 12음 음악에서 가장 영향력 있는 작곡가로 쇤베르크와 베베른의 음렬 기법을 기초로 그만의 독특한 기법을 창시하여 사용하였다. 그는 무엇보다 3음군 행렬, 전분할 행렬 등 새로운 12음 체계를 구축하고 행렬의 음악적 자원(resources)들을 이용해 ‘최대한의 다양성’을 추구하여 음악에서 이들의 다양한 변형과 변화를 시도하였다. 이렇듯 그의음악의 모든 요소는 행렬로부터 비롯되었기 때문에 결국 행렬의 철저한 제한 내에서 변형을 이룬다고볼 수 있다. 그러나 그의 음악에서 행렬의 음렬이 드러나는 경우는 매우 드물며, 행렬의 요소들을 인식하기 어려운 경우가 많다. 특히, 1960년 이후 그의 중기 작품들에 주로 사용된 전분할 행렬(all-partitionarrays)이나 특수 행렬(superarrays)은 음렬의 원형이나 변형으로 이루어진 몇몇 성부들을 각각의 다른음역에 동시에 제시하면서 각 라인(lyne)들이 서로 얽히어 나타나기 때문에 행렬과는 무관해 보이는 집합이나 모티브 집합의 새로운 형태가 제시되곤 한다. 본 논문은 이러한 배빗의 음렬 음악에서 후경층(background)의 행렬, 즉 미리 정해진 제한으로부터 어떻게 전경층(foreground)의 새로운 양상이 제시되고 있는지, 이들의 계층 구조 간에 사용된 다양한 기법들을 고찰해 본다. 또한, 배빗의 작품들 중Post-partition (1966)과 Play it again, Sam (1989)의 분석을 통해 서로 다른 계층 간에 나타난 다양한 음악적 요소들의 변화, 리듬과 다이내믹의 타임 포인트(time-point) 시스템과 음렬 시스템의 다양한 구조적 특징 등을 구체적으로 살펴봄으로써 배빗이 의도한 구조적 디자인을 파악해본다.

참고문헌 (Reference)

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