윤이상의 실내악곡 "DISTANZEN"에 관한 분석연구
(A) Study of chamber music "DISTANZEN" fur Blaser-und Streichquintett" by Isang Yun
윤이상 실내악곡 DISTANZEN 분석;
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After the collapse of tonal system for about two hundred years over the 'Classic period' and the 'Romantic period', 'Biern Modern', which was led by Arnold Schoenberg (1874 - 1951)and his pupils, Anton Webern (1883 - 1945) and Alban Berg (1885 - 1935) opened the world of atonal music. With the materials on the basis of these tones, Many composers tried to find various techniques. This fact has a very significant meaning. The achievements with these techniques, however, accompanied by the cost of tubercles of melody and emotion. They just changed to the works which were able to understood not by heart, but by brain. They showed the peak with avant-garde music of around 1950s and then some composers were able to desert the binding of time and space. But all composers of this period were not indulged in the concept of avant-garde music and did not expect the extension of the psychological sound in extreme dimensional time and space by avant-garde music. Some composers accepted the current of the time and yet gave up folklore. In other words, they didn't sever themselves from the creative music world of 'Bein Modern' and made the works in which folk or racial elements were translated to global common language. The works were not strange to native people but avant-garde to musicians and composers from the other people. They also showed mysterious and fresh sounds. The avant-garde form with this translation embodied not extreme rational form but a very perfect value of art through the proper division between the reason and the sense, and made the creative works which were able to contribute to the development of human art. Isang Yun so properly accepted a series of cultural reformation like this, therefore he was able to remain long as the representative composer of modern music in human cultural history, who sublimated Eastern thought in Western music technique. He made a bad living, therefore he was able to have more enough experiences and thoughts. He tried to transmit some message to us continuously by means of composition on basis of the strong will inherited from his mother. He devoted his whole life and energy to embodying it in his works. It was sometimes expressed through rage, scolding, teaching or endless love of nation and mankind. There are mankind and a kind of Taoism, namely 'Muwijayeon'(thought that do nothing but natural something) at the center of his thought and some realistic sensible world ate into his art. With many research activities and process of thinking about korean tradition, he demonstrated traditional thought handed down from antiquity by Western contemparary music technique. It is true that the key embodied in his works was not restricted in only esthetics and rationalism. His works show the description of desperate human society, the doubt about permanent peace of the world, and the escape from pain through self-realization. The works on basis of that thought have a enough value to be carved in human culture. That thought appears in the song named "DISTANZEN fu‥r Bla‥ser - und Streichquintett", which transmit universal truth through the concept of distance. It also includes many instructive contents, showing the strong will toward the truth and the utmost effort to reach it. It is obvious that the truth is near to us, but we don't realize it. He let us know the fact with this song. In a sense, trivial 'C'tone includes the answer. Now his body is out of existence in the world. His spirit will, however, transmit something valuable constantly without regard to any note or technique.