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F¸¦ ´©¸¥ ÈÄ, °Ë»öÇÒ ´Ü¾î(ÇÑ±Û È¤Àº ¿µ¾î)¸¦ ÀÔ·ÂÇÏ½Ã¸é µË´Ï´Ù.
|
¿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) |
|
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C |
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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 |
|
|
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H |
|
|
harmonic step |
ȼºÀû À½µµ |
|
harmonic rhythm |
ȼº¸®µë |
|
Harmonielehre |
¡ºÈ¼º¹ý¡» |
|
harmonization |
ȼºÈ |
|
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 |
|
|
|
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|
Y |
|
|
|
|
|
Z |
|
|
Zug (µ¶) |
¼± (¿µ: line) |