Henri Duparc의 가곡에 대한 분석 연구

Abstract

ABSTRACT

The Study of Henri Duparc's Songs

Jeong, Gui-Hee Advisor : Prof. Pahk kay Department of Public Administration Graduate School of Chosun University

This study aims to examine songs by Marie Eugéne Henri Duparc (1848-1933), a French composer, part of our concert program for graduation. Of his songs, it focuses on the musical contents, types, compositions and interpretation of performance centering on「Chanson Triste (1868)」,「Soupir (1869)」,「L'lnvitation au Voyage (1870)」,and 「Phidylé (1882)」. For this purpose, we identified the history and characteristics of French songs and the Duparc's life and musical characteristics. French songs developed into diverse melodious strains since the 12th century, the era of troubadours, and in the 19th century where Berlioz's music dominated, a term of Mélodie began to be used. Since then, it was inherited to Faure and Duparc via composers such as Bizet, Gounod, Massenet and Frank. Duparc was greatly influenced by Wagner and Schubert as well as Frank his teacher. However, Duparc led French songs which were simple imitations of German songs to a new path, and based on elegant French poetic dictions, he composed songs with delicate chords and French colors. The characteristics of Duparc's songs analysed in this study are summarized as follows: First, his songs are unique in definite composition of each part, formant of piano part, melodious pitch, pitch extent, and rhythm, with melody flowing around a specific sound. Second, the vocal part or the piano part tends to follow contents of poems or musical mood rather than beats designated. Therefore, formal compositions of Duparc's songs are diversified. Third, the piano part plays an important role in forming a duet with vocal part, not as an accompaniment, where overall music is harmonized with the contents of poems with recitativo progress of vocal part and lyrical and dramatic progress. Fourth, the characteristics of Duparc's harmony include bold chromatic scale, diminished 7th chord or liberally altered chord, chord with augmented 7th chord, added chord, melody of augmented 4th chord or chord. Fifth, he uses many kinds of lyrical, epic, and dramatic poems as words, but such contents developed further into deep and artistic songs. That is, Duparc's songs use a broad range of vocal melodies and have simple melodies contrary to other splendid songs in the era of Romanticism. However, as they have rhythms in melodical changes or accompaniment, such monotony is more highlighted. And more male vocalists sing them than female counterparts because of heavy mood of the songs. Of his songs, the arpeggio of「Chanson Triste (1868)」is impressive, which is calmly spread with melancholy over the whole song. Jean Leaud, a writer of the word, was a pessimistic poet who pursued an idea of transience and Oriental philosophy. In the poem, there is a hope to overcome natural suffering and distress embedded in his thoughts. This song is characterized by beautiful and gentle melody, arpeggio that support the melody and contrapunctus. In「Soupir (1869)」, the accompaniment of piano with continuing chromatic scale appears, where French mood is parallel to German organization. As you see from the titles of “Soupir”, the accompaniment and an eight rest in each line describe the sound of sigh. 「L'lnvitation au Voyage (1870)」is the most lyrical song of Duparc's songs which describes a sensational, joyous and mysterious paradise we can never reach to, keeping the Netherlands in mind. Here, the poet narrates his future pursuing beauty, splendor and tranquility of the Orient viewed from the west. 「Phidylé (1882)」describes a young man who is taking a rest beside the girl whom he loves under the sun of the Mediterranean Sea like a painting of landscape. In this song, the vocal part and the accompaniment show diverse rhythms and frequent modulations to poetic representation, and altered chords such as augmented 3rd chord and secondary dominant chord are used. That is, this song uses a contrast of leap motions and serial process, enharmonic modulation and syncopation. As above, Duparc's songs condense his life of 85 years into ten years, through which his name is remembered in the history of French songs. Based on the result of the study, we found that Duparc sought to find his own unique methods of composition out of old-fashioned and conventional process.