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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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2016
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본 논문은 키스 쟈렛이라는 재즈 아티스트의 음악세계 및 임프로비제이션이라 알려져 있는 즉흥연주 곡들에 대한 분석을 통해 현대 재즈가 지니는 위상과 특징을 알아보기 위한 작업이다.
100여 년 전 미국에서 태동한 재즈는 그동안 상업적, 대중적 측면에서 의미를 가지는 음악장르의 하나로 성장해 왔다. 그럼에도 불구하고 여전히 그 정의나 위상에 대해서는 의견이 분분하다. 가장 큰 이유는 상대적으로 짧은 역사에도 불구하고 다양한 음악 장르와 교류해 오면서 형식적 측면에서 너무나 다양한 스펙트럼을 가져온 것에 기인 한다고 볼 수 있다. 본 연구는 현재까지 여전히 음악활동을 하고 있는 키스 쟈렛이라는 음악인이 겪어온 재즈계의 흐름과 그의 작품 분석을 진행함으로써, 현재까지도 대중적으로나 예술적으로 여전히 일정한 위상을 지니고 있는 현대 재즈의 특성을 도출해 보고자 한다. 이를 위해 그의 음악적 변천사를 검토하였으며, 가장 큰 특징으로서 그의 즉흥연주 스타일과 공간적 확장성에 대해 알아보았다.
키스 쟈렛으로 대표되는 지난 반세기간의 재즈는 현실을 표현해 내고자 하는 뮤지션으로서의 예술적 욕망을 보다 자유롭고 다양한 형식으로 분출하고자 하는 재즈 뮤지션들의 노력이 집적되어 온 것이며, 이러한 다양한 실험적 정신과 실천들은 여전히 진행 중인 것으로 보인다. 또한 단순히 형식적인 측면에서의 변화를 뛰어 넘어, 시장과 재즈 뮤지션들의 세계화가 가속화되면서 현대 재즈는 더욱 다양성과 예술적 가치를 심화시키고 있다.
100여 년 전 미국에서 태동한 재즈는 그동안 상업적, 대중적 측면에서 의미를 가지는 음악장르의 하나로 성장해 왔다. 그럼에도 불구하고 여전히 그 정의나 위상에 대해서는 의견이 분분하다. 가장 큰 이유는 상대적으로 짧은 역사에도 불구하고 다양한 음악 장르와 교류해 오면서 형식적 측면에서 너무나 다양한 스펙트럼을 가져온 것에 기인 한다고 볼 수 있다. 본 연구는 현재까지 여전히 음악활동을 하고 있는 키스 쟈렛이라는 음악인이 겪어온 재즈계의 흐름과 그의 작품 분석을 진행함으로써, 현재까지도 대중적으로나 예술적으로 여전히 일정한 위상을 지니고 있는 현대 재즈의 특성을 도출해 보고자 한다. 이를 위해 그의 음악적 변천사를 검토하였으며, 가장 큰 특징으로서 그의 즉흥연주 스타일과 공간적 확장성에 대해 알아보았다.
키스 쟈렛으로 대표되는 지난 반세기간의 재즈는 현실을 표현해 내고자 하는 뮤지션으로서의 예술적 욕망을 보다 자유롭고 다양한 형식으로 분출하고자 하는 재즈 뮤지션들의 노력이 집적되어 온 것이며, 이러한 다양한 실험적 정신과 실천들은 여전히 진행 중인 것으로 보인다. 또한 단순히 형식적인 측면에서의 변화를 뛰어 넘어, 시장과 재즈 뮤지션들의 세계화가 가속화되면서 현대 재즈는 더욱 다양성과 예술적 가치를 심화시키고 있다.
목차
표차례 ···················································································································ⅰ악보차례 ···············································································································ⅱ국문 요약 ·············································································································ⅵ1. 서론 ··················································································································11-1. 연구목적 ·······································································································11-2. 연구대상 및 방법 ·······················································································42. 키스 쟈렛 재즈의 통시적 변화 분석 :폭 넓은 스펙트럼 속에서의 진화 ··································102-1. 재즈의 기원과 배경 ·················································································102-2. 키스 쟈렛의 재즈 입문( -1960년대) ····················································· 142-3. 본격적인 재즈피아니스트로서의 활약 :콰르텟과 즉흥 솔로(1970년대) ··································· 182-4. 또 다른 도전 : 클래식과 트리오(1980년대 이후) ······························212-5. 통시적 분석 요약 : Discography ··························································263. 키스 쟈렛의 음악이 가지는 스타일적 특성 ·············································313-1. 스타일적 특성 개요 ·················································································313-2 재즈와 Improvisation ···············································································32(1) Improvisation의 정의 ··············································································32(2) 아방가르드와 프리 재즈(free jazz) ·······················································373-3. 키스 쟈렛의 Improvisation ····································································443-4. 키스 쟈렛 분석 1 : 실황공연에서의 즉흥연주 ·································· 49(1) 배경과 변화(변주)로 이루어진 즉흥연주 ············································ 51(2) 무형식의 자유로운 즉흥 작곡 연주 ·····················································803-5. 키스 쟈렛 분석 2 : 스탠다드 곡에서의 즉흥연주 ···························· 98(1) I Love You, Porgy ··················································································98(2) My Funny Valentine ············································································106(3) Blame It on My Youth ········································································113(4) Summertime ····························································································118(5) Someone to Watch Over Me ·····························································126(6) Lalene ·······································································································1343-6. Improvisation과 클래식 ········································································1433-7. 아도르노와 Improvisation ····································································146(1) 아도르노의 음악철학과 배경 ·······························································147(2) 아도르노의 재즈 비판 ···········································································156(3) 아도르노의 한계와 즉흥연주의 가능성 ·············································1583-8. 쟈렛의 Gesture ·······················································································1614. 키스 쟈렛의 재즈가 지니는 공간적 확장성 ···········································1694-1. 공간적 확장의 시작: 퓨전 재즈 ··························································1704-2. 유럽 재즈의 전개 ···················································································1754-3. 키스 쟈렛과 유럽 재즈 ·········································································1775. 결론 ·················································································································182참고문헌 ··············································································································192ABSTRACT ········································································································197
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