루토슬라브스키의 제한적 우연성 음악에 관한 연구:《베네치안 게임》(1960-1961)의 <제1악장>과 《현악4중주》(1964)의 <서곡 악장>을 중심으로 = A Study of Lutosławski’s Controlled Aleatorism: Focusing on the 1st Movement from Jeux Vénitiens (1960-1961) and Introductory Movement from String Quartet (1964)

국문 초록 (Abstract)

본 연구는 루토슬라브스키의 ‘제한적 우연성 음악’이 실제 작품에서 어떻게 구현되는지 살펴보고 그 개념을 이해하고 기법의 음악 특징을 연구하는 데 목적을 두었다. 이를 위해서 그가 최초로 우연성 기법을 적용한 작품인 《베네치안 게임》(1960-1961)의 <제1악장>과 비슷한 시기의 작품 《현악4중주》(1964)의 <서주 악장>을 분석하였고, 악곡의 음악 요소들이 어떻게 ‘제한적 우연성 음악’을 형성하는지 파악하여 다음과 같이 기법의 음악 특징을 도출하였다. 루토슬라브스키의 제한적 우연성 음악은 첫째, 우연성 기법을 통해 전체 윤곽인 형식 구조는 일정하되 세부 내용인 텍스처를 결정하는 ‘소규모 우연성’ 경향을 보였다. 둘째, 연주자 임의로 연주하는 ‘ad libitum’과 전통적인 기보를 바탕으로 박자와 마디에 맞춰 연주하는 ‘a battuta’의 두 가지 방식의 우연성 기법을 통해 마이크로 리듬을 형성하였고, 이는 개별 성부를 구별해 인지할 수 없는 ‘소리 덩어리’를 생성해 합주에 의한 대위법적 성격을 보였다. 셋째, 루토슬라브스키는 우연성 기법을 통해 연주자 개인의 표현력과 연주 기술을 활용하는 새로운 방법을 활용했으며, 이러한 우연성 음악의 실현으로 연주에서 느끼는 일반적인 즐거움을 박탈한 이전의 합주 방식에서 연주자가 지닌 예술의 진정한 해방을 추구했다. 넷째, 우연성 요소는 연주자들이 악보에 기보된 음과 모든 음악 요소를 정확하게 연주하는 것을 기본으로 하며, 작곡가의 의도에 의해 우연성이 이루어진다는 점에서 즉흥성이 배제된, 제한적 우연성 음악이었다.

다국어 초록 (Multilingual Abstract)

This study aimed to explore how Witold Lutosławski's 'controlled aleatorism' was implemented in actual works, to understand its concept, and to investigate the musical characteristics of the technique. To this end, an analysis was conducted of the First Movement of Venetian Games (1960-1961), the piece in which he first applied aleatoric techniques, and the Introductory Movement of the String Quartet (1964), a work from a similar period. The results were associated with the concept of 'controlled aleatorism' to derive the following musical features of the technique: Firstly, Lutosławski's controlled aleatorism tended to 'small-scale' aleatorism, where the overall outline or formal structure remained constant through aleatoric techniques, while the details, or texture, were determined. Secondly, the formation of micro-rhythms through two modes of aleatoric techniques—'ad libitum', where performers played at their discretion, and 'a battuta,' where performers played in time and measure based on traditional notation—led to the creation of 'sound masses' that obscured individual parts, presenting a contrapuntal nature through ensemble play. Thirdly, Lutosławski utilized aleatoric techniques as a new method to leverage the individual expressiveness and technical skills of performers, seeking the true liberation of art inherent in performers, moving away from the conventional pleasure derived from performance in previous ensemble methods. Fourthly, the aleatoric elements, based on performers playing the notated pitches and all musical elements accurately, constituted controlled aleatoric music where improvisation was excluded, and aleatorism occurred according to the composer's intention.

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