이상근의 연가곡 연구(1): 한국적인 정체성을 표현하는 완전음정의 화음

Abstract

This study considered the musical language of Lee Sang keun, who expressed his Korean identity in the history of modern Korean music composition, from the perspective of harmonic materials. The scope of the analysis is set for song-cycles Poetry of Autumn Evening”, Aga 1”, and Aga 2”, and the analytical discussion of the harmonic ingredient starts from the scale. Lee Sang keun implemented the Western techniques he accepted through Korean materials, while his harmonic language pursuing national modern music emphasizes his originality.
 In the pitch material, other scale was added to the basic five-note scale creating a mixed scale, and through this the interpretation of altered chords is possible while extending pitch material to twelve notes. In the context of the five-note/pentatonic scale, the shape of the melody also shows the division of the perfect interval, just like the musical structure of the SaeYa harmony.
 As the chord of SaeYa harmony develops within the context of the five-note/pentatonic scale that does not include a half note (minor second interval), the driving force is not a characteristic that is inherent in the scale. Therefore, this five-note scale is realized within the context of the seven-note scale, demonstrating an ambilaterality in which a functional solution or harmonic progression is intended or intentionally rejected. This kind of harmonic language was a future-oriented alternative for the composer who sought national modernity, as well as the creative willness of him who could break away from the system of major/minor and fixed language of functional harmony which was left in western music tradition. SaeYa harmony perfect interval chord, Lee Sang keun’s song cycle, structure of scale, extension of scale.