라 트라비아타의 "Parigi, o cara"와 탄호이저의 "Gepriesen sei die Stunde"에 나타난 베르디와 바그너의 음악적 특성 비교
A study on musical characteristics of G. Verdi and R. Wagner by comparison between "Parigi, o cara" from La Traviata and "Gepriesen sei die Stunde" from Tannhauser
- 발행기관 강릉대학교 교육대학원
- 지도교수 최현숙
- 발행년도 2007
- 학위수여년월 2007. 2
- 학위명 석사
- 학과 및 전공 음악교육전공
- 원문페이지 i, 42 p.
- 본문언어 한국어
초록/요약
In 19th century, Italian operas were composed in traditional <BEL CANTO> style which was handed down from OPERA SERIA and OPERA BUFFA of 18th century. They have reached the peak of the point by G. Verdi in succession of G. Rossini, G. Donizetti, and V. Bellini. Italian composers composed music not with complicated manner of harmonization of romanticism but with simple and conservative manner, and dealt the story with humane love between man and woman not with supernatural events. In 19th century, German operas were influenced by french opera, and the harmony was complicated by adopting Romantic elements and the music was used as a means of dramatic expression. German composers placed a great deal of weight on harmony and orchestration than on melody. Themes were adopted from myth or legend, and filled with the supernatural supernatural characters and incidents. These German Romantic operas which began from 「Der Freisch?tz」by C. Weber, have reached the peak of the most developed manner by R. Wagner. Through this study I found the musical characteristics of G. Verdi and R. Wagner by comparison between "Parigi, o cara" from La Traviata and "Gepriesen sei die Stunde" from Tannh?user as follow; First, in the progress of melody, two vocal parts alternately sing the same melody in Verdi's music There is no harmonic progress of two voices, but it shows the melodic progress consisted of canto and obligato when two voices sing simultaneously (score1)(score3). In Wagner's music, there are two kinds of progresses : the harmonic progress that two voices sing simultaneously and the contrapuntal progress that two voices sing different melodies by turns (score9)(score11). And both composers used chromatic progression which is one of the peculiar features of Romantic music(score4)(score19). Second, the key of Verdi's music and Wagners is A♭ major, and there is no change of tonality from beginning the to end in Verdi's music. On the contrary, Wagner showed various moods of his music by the progression of relative keys through A♭major, E♭major, C minor, E♭major to A♭ major(score12)(score14). Third, in the expression of contents, the same verse was repeated on same melody by turns in Verdi's music(score1)(score4), while different verses were sung in melodic augmentation and diminution in Wagner's music(score10)(score14). Fourth, the orchestra i Verdi's music played a role of an accompaniment to the vocal parts in rhythm of Waltz parallel to vocal lines(score1)(score5). Meanwhile, in Wagner's music, the orchestra played independently and gave the effect of duet and trio with vocal melodies(score9)(score12)(score14). Fifth, Verdi used dynamics p. pp. ppp except f only for words to emphasize while Wagner pursued an ideal sonorous effect of Romanticism by making dramatic changes on music with various dynamics between pp and ff(score8)(score14)(score15). In this study I found the differences between G. Verdi and R. Wagner in the manner of composing duet songs in opera, and I expect this study to be helpful to the students at middle school in understanding Italian opera and German opera as well as in expanding their musical knowledge.
more목차
Ⅰ. 서 론 = 1
1. 연구의 목적 = 1
2. 연구방법과 제한점 = 3
Ⅱ. 본 론 = 4
1. 19세기 이탈리아 낭만주의 음악과 베르디 오페라의 특징 = 4
1) 「라 트라비아타(La Traviata)」 의 줄거리와 음악적 특징 = 9
2) "Parigi. o care" 의 음악적 분석 = 10
2. 19세기 독일 낭만주의 음악과 바그너 오페라의 특징 = 19
1) 「탄조이저(Tannhauser)」의 줄거리와 음악적 특징 = 21
2) ""Gepriesen sei die Stunde"의 음악적 분석 = 23
Ⅲ. 결 론 = 37
참고문헌 = 39
영문초록 = 40
