메시앙의 오페라 「아씨시의 성 프랑수아」중 프랑수아의 영적발달과 관련된 음 구조와 색상 상징주의에 관한 연구
분야
예체능 > 음악
저자
이승선 ( Seung Sun Lee )
발행기관
이화여자대학교 음악연구소
간행물정보
이화음악논집 2012년, 제16권 제2호, 1~32페이지(총32페이지)
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2q100173.pdf [무료 PDF 뷰어 다운로드]
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    The opera Saint Francois d`Assise composed by Olivier Messiaen is describing the process in which Saint Francois, an ordinary friar is becoming a saint on the basis of his own godliness. The opera is delivering the composer`s musical grammar and thought according to the movement through the phased musical territory on the basis of two tone systems, one of which is focused on tonality, and the other is focused on centric pitch class. The terminology tonality used in this article is not defined as the functional harmony, but it refers to the emphasis on a music structure in which the pitch-class is provided by major triad. The tonal center is used as a means of expression of foregrounds of an entire opera. And it is providing a foundation on which pitch materials are prepared by emphasizing the pitch collection that includes the characteristics themes and ideas of the opera. And Olivier Messiaen is using the color sensation of tones by drawing the limited mode, of which the key modulation is limited, into the gaps between phrases with total function quite freely. However, this technique is emerging as the importance initiated pitch is emphasized, so that it is closely connected to the Christian color symbolism. In order to thoroughly understand the harmonic language in his music, it is required to use a compositive analytic method, which includes the coloristic theory, symbols and the religious view point of the composer. It is because the themes of his music always originate from his own religious experiences. Messiaen encourages us to detect the knowledge of his own coloristic theory, in which he is using perfect tones that are contrasting but complementary cooperative simultaneously. He considers the relationship among tones as a symbol of eternal life where human feelings are no more separated but integrated as one. The symbolism connected to Olivier Messiaen`s tones is related to the sense of hearing and sight, and it may be compared to sense of smell and taste as well. This relationship creates effective music that may stimulate the faith of audience worshiping at churches, which are equipped with brilliant ornaments of Medieval Age. In his point of view, we are religionized when we learn the Bible in a church with stained-glasses. In other words, such brilliant shapes are restricted by colors and formed by a variety of specific methods. In this study, the view points of tonal system Olivier Messiaen tries to approach areexplained by terminologies that are almost identical. In short, the coloristic tonal system is induced by hues and expressed by various methods, and it is gathering together as a bigger form the can express the nature of Christian.
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