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학위논문 동서

Antonin dvorak의 Missa에 관한 硏究

김정숙

부산 : 東亞大學校 1984.

77p : 악보,삽도 ; 26cm.

학위논문(석사) : 東亞大學校 敎育大學院 : 音樂敎育專攻, `84년8월.

영문초록 : Antonin Dvorˇa´k, like Smetana introduced Czecho national music to the world. Dvorˇa´k was a very famous composers in the latter part of 19th century. He received the very strong influences from church music on that time in developing himself as a composer, because he joined in church music as a choir-boy in his earliest days. Moreover, he used to hear and appreciate the church music often in his daily life and took part in its orchestra performance as a member of violinist and viola-player, then finally, as an organist. In composing Missa in D major OP.86, his inward motives and deeply religious feeling played a major role. He was a devotional christian, and had an optimistic character. All through his musical life career, his popularity was on the summit around the time when he composed Missa D major OP.86. By that time, he secured himself as a successful composer and enjoyed a wealthy life; consequently, such a life of his influenced his work deeply. All his works accentuated a romantic feeling rather than displayed a Bohemianism strongly. This research reveals that A. Dvorˇa´k composed three Missa in his lifetime, but Missa D major OP.86 is the only one that has come down to us in our present days. This work was created in sketch between March 23rd and May 26th, 1887. A clean copy of organ version was completed by June 17th of the same year. The work was then scored by the composer between March 24th and June 15th, 1892. It consists of six parts such as Kyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei. The work introduced compound two part form from three part from two and four. In the form construction, A and B parts exist, but C part is excluded. When I analyze and summarize the judgement of musical worthy of Dvorˇa´k "Missa in D major OP.86", the following conclusion can be made. First, as for melody, he employs mainly Polyphony melody together with using the effect of contraposition melody frequently in his work. Second, refreshing changes are made in the melodies by the temporary modulation in the process of tanslity of each tune for the purpose of variety. Third, in the utility of chord, it has frequent application of borrowing chord and change chord in developing free progress of melody excluale tenality. Fourth, musical techniques such as Invention, Canon, Union, Antiphonal and Fugato are employed in harmonious way all through six tunes of Missa. And above described all six techniques belong to Polyphonic and Homophonic techniques. In estimating the musical worthy of his work, it is remarkable how well he was able to bring into his finished work the full atmosphere that was specifically Czecho and specifically Dvorˇa´k. The work positively breathes the spirit of Czeho countryside. It describes the charm of little Baroque churches with folk decoration and the simple minded country people in its musical sound developments. It also contained the great feeling that comes from the historical background together with the nation's religious character. The orchestral version was first given a public performance on March 11th, 1983, in the London Crystal Palace, under the baton of Augustman.

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