영문초록
Program music became popular as the product of music and literature in the 19th century, which was the era of integrated art. It gained recognition as the genre which expressed literary spirit of Romanticism most effectively. Robert Schumann (1810-56) is the representative composer of Romanticism who combined his literary talent with music, leading to the creation of program music. Among his early piano cycles, Carnaval op. 9 is the piece which fully demonstrates the connection with literature and this is evident in the program of the work. Consisting of 21 sections, the piece has each movement with the program which describes scenes of carnivals Schumann has named. However, all programs do not match with the title ``carnaval`` content-wise and representative programs include ``Sphinx``, ``Butterfly`` and ``Dancing Letters.`` Also, in the arrangement of programs shows ambiguity, leaving the listeners sensing unnatural quality in the piece. This study began with the question that the work is not simply a program music that describes carnivals. It was designed to associate the ambiguity of the work with German writer, Johann Paul Friedrich Richter (1763-1825). The purpose of this study is to examine composer`s real intention and purpose in the work. Specific goals include exploring the work in depth from various angles including the interpretation of various programs including ``Sphinx``, the impact of Johann Paul`s literary works, multilayered meaning and symbolism of programs and arrangements. Johann Paul is a writer who has influenced Schumann`s music the most. In this study, his literary characteristics were examined from six aspects such as contrasting dual figure structure, quotation, short story, suggestion and mystery, satire and humor and breakaway. The ambiguity in the program of Carnaval op. 9 is newly examined in connection with literary characteristics of Johann Paul. It was founded that ``Sphinx``, ``Butterfly`` and ``Dancing Letters`` are the intended devices placed by Schumann to suggest the most important theme of the piece. Moreover, the hidden intention behind character programs and the arrangement ofprograms is multilayered and implied in a symbolic manner. In short, Carnaval op. 9 resembles the air of carnivals with the description of clowns in masks and dance balls. However in reality, it is a ``literary-musical`` work with the critique and satire of the societyat the time and the composer`s own story behind elaborate images such as ``masks`` and ``clowns.``
추천자료
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[낭만파음악] 낭만파음악의 역사적인 배경
[음악] 낭만파음악의 역사적 배경
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낭만파 음악 레포트
[음악양식, 음악] 다양한 음악양식(바로크, 로코코, 고전주의, 국민주의, 인상주의, 표현주의, 신고전주의, 12음, 구체, 전자, 우연성), 바로크음악, 오페라, 고전주의음악, 낭만주의음악 심층 분석
19세기 러시아 미술과 음악
[낭만주의음악][낭만파음악][로베르트 슈만]낭만주의(낭만파) 음악 특성,성격,배경, 로베르트 슈만 생애,피아노협주곡,사랑,클라라 슈만
분야
2q100172.pdf [무료 PDF 뷰어 다운로드]
