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¿µ¾î¿ë¾î

Çѱ۹ø¿ª¿ë¾î

A

 

abbreviation of nature

ÀÚ¿¬ÀÇ ÁÙÀÓ

Abwärts (abw.) (µ¶)

ÇÏÇà (¿µ: Descending)

accented passing tone

°­¼¼ ºÙÀº °æ°úÀ½

Anstieg (µ¶)

½ÃÀÛ »óÇ༱(¿µ: initial ascent)

aparent tonic

ÇãÀ§À¸¶äÈ­À½

applied dominant

ÀÀ¿ëµþ¸²È­À½

arpeggiation

ºÐ»êÈ­À½È­

arpeggiated ascent

½ÃÀۺлêÈ­À½È­ (¢Ñ initial arpeggiation)

ascending 5-6 sequence

»óÇà 5-6 µ¿ÇüÁøÇà

ascending register transfer

»óÇàÀ½¿ªÀ̵¿ (µ¶: Hoherlegnung)

Aufwärts (aufw.) (µ¶)

»óÇà (¿µ: ascending)

Ausfaltung (µ¶)

Æîħ (¿µ: unfolding)

 

B

background

ÈİæÃþ

bass arpeggiation

º£À̽ººÐ»êÈ­À½È­

beam

ºö

boundary note

°æ°èÀ½

boundary play

°æ°è³îÀÌ

Brechung (Brech., Brch., Brechg.) (µ¶)

ºÐ»êÈ­À½È­ (¿µ:  arpeggiation)

 

 

 

C

cantus firmus

Á¤¼±À²

chord

(±¸Á¶ÀûÀ¸·Î Áß¿äÇÑ È­À½°ú ±¸ºÐµÇ´Â) Ç¥¸éÀû È­À½

Chromatische Phantasie und Fuge

¡º¹ÝÀ½°èÀû ÆÇŸÁö¿Í Ǫ°¡¡»

closed note

°ËÀº À½Ç¥

composing-out

°èÃþÀû ÀÛ°î

compound melody

º¹ÇÕ¼±À²

concealed repletion

¼û°ÜÁø ¹Ýº¹

consonant skip

ÇùÈ­Àû µµ¾à

contrapuntal chord

´ëÀ§Àû È­À½

cover tone

µ¤°³À½

coupling

¿ÁŸºê ¦Áþ±â (µ¶: Koppelung)

counterpoint

¨ç ´ëÀ§

¨è¡º´ëÀ§¹ý¡»

 

D

Das Meisterwerk in der Musik (µ¶)

¡ºÀ½¾ÇÀÇ °ÉÀÛ¡»

Deckton (µ¶)

µ¤°³À½ (¿µ: Cover tone)

Dehnung (µ¶)

È®Àå (¿µ: extension)

Der freie Satz

¡ºÀÚÀ¯ÀÛ¹ý¡»(¿µ: Free Composition)

descending register transfer

ÇÏÇàÀ½¿ªÀ̵¿ (µ¶: Tieferlegnung)

Dezimensatz (µ¶)

10µµÁøÇà (¿µ: motion in tenths)

diagonal line

´ë°¢¼±

Die Kunst der Improvisation (µ¶)

¡ºÁïÈ↓ÁÖÀÇ ±â¼ú¡»

diminution

Ãà¼Ò

diminutionsmotiv

Ãà¼Òµ¿±â

divider

ºÐÇÒÀÚ (µ¶: Teiler)

dividing dominant 

ºÐÇÒµþ¸²È­À½ (µ¶: Teilende Dominante)

dominant preparation

µþ¸²ÁغñÈ­À½ (¢Ñ pre-dominant harmony)

dominant substitutes

´ëüµþ¸²È­À½

dotted slur

Á¡¼± ½½·¯

double neighbor

º¸Á¶À½±×·ì

downbeat / upbeat

³»¸²¹Ú / ¿Ã¸²¹Ú

durational reduction

À½°¡Ãà¾à

durational reduction graph

À½°¡Ãà¾à±×·¡ÇÁ

Durchgang (Dg.)

¨ç °æ°úÀ½ (¿µ: passing tone)

¨è °æ°úÀû ÁøÇà (¿µ: passing motion)

 

E

earlier/later

Ãʱâ/Èıâ

Ein beitrag zur Ornamentik

¡ºÀå½ÄÀ½ ¿¬±¸¡»

Erlauterungsausgabe

¡ºÁÖ¼®ÆÇ¡»

 

F

fifth progression

5µµÁøÇà

figured bass

¼ýÀÚÀúÀ½

first-level middleground

Á¦1Áß°æÃþ

first-order linear progression ȤÀº

linear progression of the first order

ÀϼøÀ§ ¼±ÀûÀÎ ÁøÇà

Five Graphic Music Analyses

¡º´Ù¼¸ °³ÀÇ ±×·¡ÇÁ À½¾ÇºÐ¼®¡»

5-6 contrapuntal motion

5-6 ´ëÀ§Àû ÁøÇà

foreground

Àü°æÃþ

fourth progression

4µµ ÁøÇà

Free Composition

¡ºÀÚÀ¯ÀÛ¹ý¡»

fundamental line

±Ùº»¼±À²

fundamental structure

±Ùº»±¸Á¶

Fünf Urlinie-Tafeln (µ¶)

¡º´Ù¼¸ °³ÀÇ ±×·¡ÇÁ À½¾ÇºÐ¼®¡»

 

G

 

 

 

H

harmonic step

È­¼ºÀû À½µµ

harmonic rhythm

È­¼º¸®µë

Harmonielehre

¡ºÈ­¼º¹ý¡»

harmonization

È­¼ºÈ­

head note

¸Ó¸®À½ (¢Ñ primary tone)

hierarchy

À§°è

higher/lower

³ôÀº /³·Àº

Hintergrund (µ¶)

ÈİæÃþ (¿µ: background)

Hoherlegnung (µ¶)

»óÇàÀ½¿ªÀ̵¿ (¿µ: ascending register transfer)

horizontalization

¼öÆòÈ­

hypermeasure

ÇÏÀÌÆÛ¸ÞÀú

hypermeter

ÇÏÀÌÆÛ¸ÞÅÍ

 

I

implied note

¾Ï½ÃÀ½

incomplete neighbor

ºÒ¿ÏÀüº¸Á¶À½

initial arpeggiation

½ÃÀۺлêÈ­À½È­ (¢Ñ arpeggiated ascent)

initial ascent

½ÃÀÛ»óÇ༱ (µ¶: Anstieg)

initial descent

½ÃÀÛÇÏÇ༱

interlocking slur

²¿ºÎ¶û ½½·¯

intermediate harmony

Áß°³È­À½ (¢Ñ pre-dominant harmony)

interruption

Áß´Ü (µ¶: Unterbrechung)

 

J

 

K

Kontrapunkt

¡º´ëÀ§¹ý¡»

Koppelung (Kopp.) (µ¶)

¿ÁŸºê ¦Áþ±â (¿µ: coupling)

 

L

large-scale tonal plan

°Å½ÃÀû Á¶¼º °èȹ

Later / earlier

Èıâ / Ãʱâ

leading-tone third line

À̲ûÀ½ 3µµ¼±

leaping passing tone

µµ¾àÇÏ´Â °æ°úÀ½

level

°èÃþ (¹®¸Æ¿¡ µû¶ó ¡°´Ü°è¡±·Îµµ ¹ø¿ª) (µ¶: Schicht)

line

¼±

linear intervallic pattern

¼±ÀûÀÎ À½Á¤ÆÐÅÏ

linear progression

¼±ÀûÀÎ ÁøÇà

lower / higher

³·Àº / ³ôÀº

 

M

melodic progression

¼±À²ÁøÇà

melodic prolongation

¼±À²¿¬Àå

middleground

Áß°æÃþ

mixture

[À塤´Ü ¼±¹ý]È¥¿ë

Mittelgrund (Mtg., Mittelgrd.) (µ¶)

Áß°æÃþ (¿µ: middleground)

mode mixture

À塤´Ü ¼±¹ýÈ¥¿ë

motion from an inner voice

³»¼ºÀ¸·ÎºÎÅÍÀÇ ÁøÇà

motion from an outer voice

¿Ü¼ºÀ¸·ÎºÎÅÍÀÇ ÁøÇà

motion into an inner voice

³»¼ºÀ¸·ÎÀÇ ÁøÇà

motive

µ¿±â

motivic parallelism

µ¿±âÀû À¯»ç¼º

motivic repetition

µ¿±â¹Ýº¹

musical surface

À½¾ÇÇ¥¸é

 

N

Nebennote (Nbn.) (µ¶)

º¸Á¶À½ (¿µ: neighbor note)

Nebennotenharmonie (Nbhm., Nbnhm.)

º¸Á¶Àû È­À½

(¿µ: neighboring harmony)

neighbor note

º¸Á¶À½

neighboring harmony

º¸Á¶È­À½

neighboring motion / figure

º¸Á¶À½Çü

neighbor motive

º¸Á¶À½ ¸ðƼºê

Neue musikalischen Theorien und Phantasien (µ¶)

¡º»õ·Î¿î À½¾ÇÀ̷аú ÆÇŸÁö¡»

notational symbol

Ç¥±â±âÈ£

 

O

Obligate Lage (µ¶)

Àǹ«Àû À½¿ª(¿µ: obligatory register)

obligatory register

Àǹ«Àû À½¿ª (µ¶: Obligate Lage)

octave progression

¿ÁŸºêÁøÇà

Octavzug (µ¶)

¿ÁŸºêÁøÇà (¿µ: octave progression)

open note

ÈòÀ½Ç¥

overlapping

¨ç ¼ººÎÄ§ÇØ

¨è »¸ÃĿø² (¢Ñ reaching-over)

 

P

parenthesis

°ýÈ£

passing chord

°æ°úÈ­À½

passing motion

°æ°úÀû ÁøÇà

passing tone

°æ°úÀ½

Phrase Rhythm in Tonal Music

¡ºÁ¶¼ºÀ½¾Ç¿¡¼­ÀÇ ¾Ç±¸¸®µë¡»

Phrygian ^2

ÇÁ¸®Áö¾Æ À½µµ ^2

polyphonic melody

º¹ÇÕ¼±À² (¢Ñ compound melody)

post-Schenkerian

Æ÷½ºÆ® ½¨Äɸ®¾È

pre-dominant harmony

µþ¸²ÁغñÈ­À½

primary tone

¸Ó¸®À½

prolongation

¿¬Àå

prolongational span

¿¬À念¿ª

 

Q

Quartzug

4µµÁøÇà (¿µ: fourth progression)

Quintzug

5µµÁøÇà (¿µ: fifth progression)

 

R

reaching-over

»¸ÃĿø² (µ¶: Übergreifen)

reduction

Ãà¾à

register transfer

À½¿ªÀ̵¿

rhythmic displacement

¸®µëÀÇ ºÒÀÏÄ¡

rhythmic structure

¸®µë±¸Á¶

 

S

scale degree

À½µµ

Schenker, Heinrich

½¨Ä¿, ÇÏÀθ®È÷

Schenker¡¯s theory

½¨Ä¿ÀÌ·Ð

Schenkerian theory

½¨Ä¿½Ä ºÐ¼®ÀÌ·Ð

Schichten (µ¶)

°èÃþ

Sext Brechung aufwärts (µ¶)

6µµ»óÇà ºÐ»êÈ­À½È­ (¿µ: ascending sixth arpeggiation)

Sextzug (µ¶)

6µµÁøÇà

shift of register

À½¿ªÀ̵¿

slur

½½·¯

slurring

½½·¯ ±ß±â

sketch

½ºÄÉÄ¡

stem

[À½Ç¥ÀÇ]±âµÕ

Stimmtausch (µ¶)

¼ººÎ±³È¯ (¿µ: voice exchange)

Structural Hearing in Music

¡ºÀ½¾ÇÀÇ ±¸Á¶Àû µéÀ½¡»

structural level ȤÀº

levels of structure

±¸Á¶°èÃþ

Stufe (µ¶)

½´ÅõÆä

substitution

´ëü

superposition

µ¡¾º¿ò

surface

[À½¾Ç]Ç¥¸é

surface level

Ç¥¸é°èÃþ 

 

T

Takt (T)

¸¶µð (¿µ: measure, bar)

Teilende Dominante (µ¶)

ºÐÇÒµþ¸²È­À½ (¿µ: dividing dominant)

Teiler (Tl.) (µ¶)

ºÐÇÒÀÚ (¿µ: divider)

Terzzug abwärts (µ¶)

3µµÇÏÇàÁøÇà (¿µ: Descending third line)

third progression

3µµÁøÇà

Tieferlegnung (µ¶)

ÇÏÇàÀ½¿ªÀ̵¿ (¿µ: descending register transfer)

tonal space

À½°ø°£

tonic substitutes

À¸¶äÈ­À½ ´ëü

tonicization

À¸¶äÀ½È­

Tonwille

¡ºÀ½ÀÇÁö¡»

 

U

Übergreifen ȤÀº Übergreifung (µ¶)

»¸ÃĿø²(¿µ: reaching-over)

unfolding

Æîħ

Unterbrechung (µ¶)

Áß´Ü (¿µ: Interruption)

upbeat / downbeat

¿Ã¸²¹Ú / ³»¸²¹Ú

upper fifth

»óÀ§5µµ

Urlinie (µ¶)

±Ùº»¼±À² (¿µ: fundamental line)

Urlinie-Tafel (Url. Tafel) (µ¶)

¨ç ÀÚ¼¼ÇÑ Àü°æÃþ

¨è ¼Î °èÃþÀÇ ºÐ¼®±×·¡ÇÁ

Ursatz (µ¶)

±Ùº»±¸Á¶ (¿µ: fundamental structure)

Ursatz parallelism

±Ùº»±¸Á¶ À¯»ç¼º

 

V

verticalization

¼öÁ÷È­

Vodergrund (µ¶)

Àü°æÃþ (¿µ: foreground)

voice-leading

¼ººÎÁøÇà

voice-leading chord

¼ººÎÁøÇà È­À½

voice-leading graph

¼ººÎÁøÇà ±×·¡ÇÁ

 

W

 

 

 

X

 

 

 

Y

 

 

 

Z

Zug (µ¶)

¼± (¿µ: line)