말러의 초기음악에 나타나는 공간성

초록

Mahler experimented a new means of expression with overtly theatrical sensibility to bring into spatiality in his works. He deployed off-stage orchestra and used various markings for acoustic effect. Typically distant sound heard from the meticulously manipulated off-stage orchestra abruptly breaks into the body of a piece and interrupts musical narrative. In this study particular attention was given to spatiality in Mahler's earliest works of Das klagende Lied and Symphonies 1 and 2, and examine what constitutes the distant sound and how they function in the entire piece. Spatiality of off-stage instruments seems strongly influenced by the concept of polyphony from his childhood, which encompasses all kinds of environmental sound came from different distances and directions, sometimes with mobility. Mahler created a sonic tableau composite of the heterogeneous and layered sonic events, which anticipates new sonic exploitations in the aspects of manipulation of sound and choice of sound materials in music.

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