마리오 다비도프스키(M. Davidovsky)의 바이올린과 테이프를 위한 ≪싱크로니즘 9번≫ 분석

Abstract

마리오 다비도프스키(Mario Davidovsky, 1934~)는 어쿠스틱 악기와 전자음악을 위한 라이브 일렉트로 어쿠스틱 음악 작품 ‘싱크로니즘(Synchronisms) 시리즈’를 작곡함에 있어 전자음악의 내용을 오선보 안에 기보하였다. 본 논문에서는 다비도프스키가 전자음악을 오선보 안에 기보한 의도를 1950-1970년대에 작곡된 다른 작곡가들의 작품과 비교하여 오선보 이외의 기보 방법과의 차별화를 연구하였고, 바이올린과 테이프를 위한 ≪싱크로니즘 9번≫(1988)의 내용을 분석하여 전자음악의 기악적 사용 방법에 대하여 고찰하였다. ≪싱크로니즘 9번≫은 두 개의 주제를 지니고 있으며 각 주제의 특징은 독자적으로 발전하기도 하고, 상호 유기적으로 관계를 유지하며 발전하기도 한다. 이 관계 안에서 테이프와 바이올린은 대등한 관계 속에서 음악적 구조를 형성하기도 하고 새로운 음색을 창출하기도 하여 기악적으로 유기적 관계를 맺고 있다. 이러한 내용을 구현하기 위해 테이프 부분은 바이올린의 연주와 함께 전자음악을 재생하기만 하는 간단한 방법이 아닌, 바이올린 연주자와 음악적 분위기와 내용을 공유하는 어쿠스틱 악기로 취급되었다.| Mario Davidovsky (1934～) composed the ‘Synchronisms’ series for instrument and electro-acoustic music on fixed media(tape) and included the contents of the electronic part in the score using traditional staff notation. In this study, the notation of the electronic part of the works of Davidovsky is compared with that of other composers who were actively writing electronic music from 1950 to 1970, then other types of musical notation and the use of electronic music with instruments is discussed before a detailed analysis of the Synchronisms #9 for violin and tape. Synchronisms #9 has two themes, both of which are developed together throughout the composition in order to keep their mutual thematic relationship. In this relationship, the tape and violin together form the musical structure on an equal footing, creating fresh sounds and a close relationship between instrument and electronics. The tape part for this composition is not just a simple means of playing back the electric music alongside the instrument, but it becomes itself an extension of the acoustic instrument, sharing the feelings and gestures with the musician.; Mario Davidovsky (1934～) composed the ‘Synchronisms’ series for instrument and electro-acoustic music on fixed media(tape) and included the contents of the electronic part in the score using traditional staff notation. In this study, the notation of the electronic part of the works of Davidovsky is compared with that of other composers who were actively writing electronic music from 1950 to 1970, then other types of musical notation and the use of electronic music with instruments is discussed before a detailed analysis of the Synchronisms #9 for violin and tape. Synchronisms #9 has two themes, both of which are developed together throughout the composition in order to keep their mutual thematic relationship. In this relationship, the tape and violin together form the musical structure on an equal footing, creating fresh sounds and a close relationship between instrument and electronics. The tape part for this composition is not just a simple means of playing back the electric music alongside the instrument, but it becomes itself an extension of the acoustic instrument, sharing the feelings and gestures with the musician.