戰後西歐現代音樂의 變遷과 發展過程에 關한 硏究 = A Study on the Process of Development of the Modern Western Europe Music
저자
최인찬 (안동대학교 음악과)
발행기관
학술지명
권호사항
발행연도
1984
작성언어
Korean
KDC
670.000
자료형태
학술저널
수록면
327-364(38쪽)
제공처
Post-war modern music is faced with the creation of new art, which expresses the rapidly changing and confused feeling of the times as an idea.
Usually in peaceful times, art will go with go with the creative stream symbolizing peace. But political and social unrest brought such feelingsas unesiness and terror during the war. The irresistable convulsion of the new time made Europe and all of the world rush into times of uneasiness and terror. We are all exposed great dangers that we dare not predict if the nuclear missile explodes. The stream of the post-ware music is not the character of individuality from the usual main stream.
The excessive liberalism of the post-war music was against the category of the idea in art to bring in the individualism.
As the first reason of this phenomenon, an expected political agitation of postwar has an effect on building up a new environment, so liberalexpression of a private person becomes idealized.
In consequence, it formed a new age to create the lord of a notion in the inner citadel of each person.
In the second place, owing to the development of science, the machine age had an effect on building up industrial society as well as being considered as a new field of music creation.
In the third place, having made desperate efforts in seeking a new music field as an experimental method, they were absorbed in composing cacophonic music.
The 2-dimensional or 3-dimensional music space means a sort of a unity, namely musical idea must be a law of musical logic.
But these experimentalists disregarded the law of musical logic and the traditional order of music and they were intoxicated with the self-idea as investigators, pioneers, cultivators of the music circle against such as the thinking, moving senitive reason.
Man`s peculiarities: feeling of art, soul, world of proud, metaphysical spirit of loneliness and religious atomosphere were erased.
A feature of homeeconomics exposed.
By the action of pragmatism and realism, the result of the greater part of the post-war music to musicians of the Europe can not be prevented from depraving poor art work belittling the man and the atmosphere of the music-hall became violent.
In this respect, we can not help pointing out the fact that tendency of the mate erialistic conception of history have a lot of effect.
Man-material against mind, machine against man-can`t recover humanity with art and the inhuman music which a man makes with a machine and electricity without soul do not make a sensitivity or an impression but make deadness to sensitivity with a stimulus, resistance and injustice consciously were said to be the work in the limelight.
It is the character and the reality of the post-war music that there are a lot of magalomaniac composers.
In the fourth place, some of the composers remained faithful to originality of art in music serving their new creation with ardent zeal.
As the way of an expression was different besides, it was difficult to keep conventional notation and express the sound of their individual character with the old method, so a new method of recording was created. There were a few composers who contributed to the outstanding creation of music in the compostion method of art, having a sound effect on music expression. I`ll treat three of them in priority as post-war music because it is too bulky to study all of composers.
The summary about transition of post-war music is as follows:
1. Situation 1945
2. Nachholbedarf Bereitschaft Zum Neuen
3. Die ersten neuen Namen: Schostakowitsch, Britten, Messiaen
4. Geistige Widerkehr von Schonberg und Webern
5. Die Serielle Period, Punktuelle Musik
6. Beginn der Aleatorik: Boulez, Stockhausen
7. Die Pioniere der Elektronik
8. Produktive Kommunikationen
9. Auflockerung und Persiflage: Cage und Kagel
10. Situation Anfang der Sechziger Jahre
11. Das Musikschrifttum: Adorno, Ansermet
12. Mono und die Politische Musik
13. Kontakte mitOsteuropa
14. Nationalismus, Komponisten in Emigration Komponisten der DDR.
15. Bartok-Singulares Phanomen?
16. Neue Formen cles Musiktheaters.
17. Zur Verwendung von Sprache in der Neuen Musik
18. Situation um 1975
We may call the above the process of transition I`ll make a study of the colors and purposes, analyzing contents, and melodious order fro the above composers` work.
Especially, I`ll try to lay emphasis on the new aesthetics and logical foundation from their thoughtful points of view, under the circumstances which are due to create a new music.
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