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윤이상의 첼로독주곡 “Glissees"에 관한 분석연구 원문보기
(A) Study of "Glissees pour Violoncelle seul" by Isang Yun

  • 저자

    임지훈

  • 학위수여기관

    昌原大學校 大學院

  • 학위구분

    국내석사

  • 학과

    음악과

  • 지도교수

  • 발행년도

    2004

  • 총페이지

    iv, 67p.

  • 키워드

    윤이상 첼로독주곡 Glissees 음악;

  • 언어

    kor

  • 원문 URL

    http://www.riss.kr/link?id=T9469042&outLink=K  

  • 초록

    Modern music, in concert with the fast changing drift of affairs in the world is being transformed day by day. Isang Yun has made a name for himself in the history of modern music subsequent to Gyo¨rgy Ligeti and Krzystof Penderecki as a renowned timbre composition techniques composer, and "Glissees" for violincello solo which is exemplified in this dissertation is one of Isang Yun's early works, completed in 1970. Based on the traditional composition technique called twelve tone-row technique and by applying Isang Yun's exclusive principal tone composition technique, "Glissees" manifests itself with the strong characteristics of his early works. On top of that, the timbre and effect of the Korean harp(with six strings) known as Geomungo is expressed in terms of cello instrument in the piece, "Glissees" and this has a significant implication for the globalization of Korean music. "Glissees" has its grounding in Jung-Jung-Dong and the male and female principles ideology, which are Isang Yun's most prominent thoughts and along with the expression of his principal tone composition techniques, it stands out in distinction with many of his other works pertinent to cello instrument that were all composed in 1970. Also, the piece, "Glissees" advanced to a cello concerto in 1976 and conduced to improving the method of cello execution. Isang Yun has a profound affection in cello and has accomplished a number of cello related pieces. Reflecting his affection and contribution in cello, cello was picked to fall under concours category at Gyeongnam International Music Competition held in the 22nd of November 2003 and amongst the high-ranked competitors, 2nd and 4th winners of the competition played Isang Yun's cello piece. Amidst his creation stages, by analyzing "Glissees" for violincello solo of the first stage we are able to compare the linkage and antithesis with the cello concerto of the second stage. Furthermore, we can make a conjecture about their relationship with pieces of the third stage as well. In "Glissees", Isang Yun has successfully transformed the Korean classical music techniques into Glissando technique of string instruments and he is applying this in many of his works. Although we can find examples of such an application before 1970(this is before he composed "Glissees"), by composing "Glissees" he reached a zenith of transforming Korean classical music techniques into the western music techniques. Diverse kinds of Glissando method of execution and the use of microtones and arbitrary tones have enabled cello to gain as various timbres as possible. By analyzing the piece, "Glissees", the tendency of his first stage works can be observed and turns out to be serial music and the symphony of many other composition techniques in summary. In "Glissees", the entire piece is dominated by the first row, and it is in good harmony with the Korean traditional rhythm, nuance and many different composition techniques. Nevertheless, Isang Yun does not unfold his piece, "Glissees" using the developing method present in the traditional serial music. In other words, after the original row he unfolds the piece, "Glissees" not by inversion, retrograde and retrograde inversion methods but by converting these methods into row of a similar form. This sort of tendency of his work is switched to the principal sound technique in the second stage, and it undergoes another switch to the tendency of harmonic tone in the final third stage. In the field of serial music , by analyzing and researching on "Glissees" which was composed in the transition period of Isang Yun, himself moving towards his own musical mode of expression, it provides us with an opportunity to understand the course of change of Isang Yun's music as well as broadening our knowledge of Korean music. This dissertation focuses on understanging Isang Yun's initial composition techniques and moreover, I personally hope it will contribute to understanding the foundation of techniques and thoughts that will be reflected in his latter works. Throughout his work, Isang Yun lays stress on the importance of, "the most Koreanized it is, the most globalized it becomes."


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