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음악으로 신학을 하다 : 바흐의 「내 주는 강한 성」 / 채현경 1
1. 들어가며 1
2. 바흐와 라이프치히 그리고 음악환경 7
1) 합창단의 구성과 교육과정 9
2) 합창훈련과 신학의 가르침 11
3) 악기주자들 12
4) 예배순서와 교회음악 프로그램 13
3. 바흐의 「내 주는 강한 성」(BWV 80) 16
1) 라이프치히 칸타타 16
2) 「내 주는 강한 성」(Ein feste Burg ist unser Gott, BWV 80) 18
4. 나가면서 35
참고문헌 39
Internet 자료 41
악보 41
[요약] 42
초록보기 더보기
J. S. Bach has finally achieved his dream of establishing "well-regulated church music" as a cantor and music director in Leipzig. He was in charge of worship music at four churches in the city, including St. Thomas Church, the most musically active church in German music tradition. He was also responsible for educating young musicians in Thomas Latin School and managing the instrumentalists in the Collegium Musicum. Having nearly all the musical talent of the town at his disposal, he systematically carried out the reform of church music by positioning cantatas of his own composition as the "Haupt Musik" of the service. Unlike previous music directors, Bach wrote a new cantata every week that matched the sermon and that followed the church calendar. He selected all the hymns and published the text of cantatas based on the Bible in a handbook size with his own money to promote the understanding of the content of cantatas. The ultimate goal of cantatas for Bach was to announce the word of God and his cantatas created such musical affect and meaning with careful treatment of the text [Taruskin 2005: 340]. During his 27 years of residence in Leipzig, his cantata performances of 1600 times were always well received by fully packed congregations [Wolff: 2000: 251]. His desire to reform the order and music of worship, which began in 1708 while working as a church organist in M?lhausen, was finally realized.
This paper examines his success as a church music reformer, focusing on his activities in Leipzig. Recent studies by Christoph Wolff (2000) on Bach archives revealed abundant information on Bach's activities in various venues. First, I will draw a comprehensive picture surrounding the performance of cantatas from three different angles: 1) reaction of the city and the church officials as well as reception of the congregations; 2) the composer's philosophy on church music; and 3) musical education of Latin school tradition and its affect on performance practice of the time. Second, I will analyze the cantata, BWV 80, the most important choral of Lutheran as well as Bach's personal confession of belief, "Ein feste Burg." I will focus on how the meaning of the text is depicted or symbolized in music. Combining the analysis of music with the contextual research, I will argue that the success of Bach as church musician is not simply the result of the Romantic notion of "genius" composer's musical talent but of a hard lifetime of training and the continuous pursuit of a dream.
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