헬무트 락헨만의 ‘기악적 구체음악’(musique concrète instrumentale)과 그 음악사적, 미학적 해석

• 영문명: A music-historical and aesthetic interpretation of Helmut Lachenmann's musique concrète instrumentale
• 발행기관: 한국서양음악학회
• 저자명: 서정은
• 간행물 정보: 『서양음악학』제11권 제3호, 67~116쪽, 전체 50쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 2008.09.30

영문 초록

This essay surveyed some characteristic features of Lachenmann's musique concrète instrumentale, which is among the kernel concepts of his aesthetics. As a social-politically engaged composer, he aims to create music which contributes to a consciousness-formation of listener, composer, and performer in an aesthetic argument. For this, he uses experimental methods for which the concept of ‘sound-producing as action’ plays an important role. I have examined the influence of Luigi Nono on Lachenmann and the aesthetic of negation as well as the concept of musique concrète instrumentale, along with observation on some pieces which exemplify this concept; I have also attempted to interpret musique concrète instrumentale in a music-historical and aesthetic viewpoint, regarding an aspect of theatricality in non-theatrical, non-verbal instrumental music, and the 'action-oriented notation', and a new idea of listening. It is remarkable that all these aspects are related to one another and lie in mutual coherence.

목차

Ⅰ. 서론

Ⅱ. 헬무트 락헨만의 미학과 작품세계

Ⅲ. 락헨만의 ‘기악적 구체음악’(musique concrète instrumentale)

Ⅳ. 기악적 구체음악의 음악사적ㆍ미학적 해석

Ⅴ. 결론

참고문헌

키워드

기악적 구체음악 부정의 미학 음악에서의 연극성 행위중심적 기보법 새로운 청취의 개념 musique concrète instrumentale aesthetic of negation/rejection theatricality in music action-oriented notation a new concept of listening