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Ji Young Noh
I. Introduction
progressions.”4)
One key to understanding Mompou’s connection to primitivista
style is an understanding the legacy of Erik Satie. Satie
expresses himself in the simplest terms possible, nakedly and
without decoration. In emulation of Satie, Mompou shows
extreme simplicity with thin textures and very few voice lines
as well as lack of time signatures, meters, and bar lines.
Moreover, he employs simple rhythms with only basic divisions
of the pulse, the absence of metronome markings, an avoidance
of cadential progressions, and the placements of accidentals only
before the notes to which they immediately apply. Mompou’s
primitivista style is evident throughout his final composition,
Música Callada (Example 1.1). Música Callada was inspired by a
poem on music by the Spanish mystic, St. John of the Cross
(1542-1591). In this work, Mompou emphasizes simplicity,
economy and purity over complexity and conspicuous technical
display. A simple melodic line evoking Gregorian chant and
repeated chords with no extraneous texture all serve to
illustrate Mompou’s primitivista technique.
4) F.E. Kirby, A Short History of Keyboard Music (New York: The Free
Press, 1966), 436.
72 Ji Young Noh
The music is silent and the sense and the natural power
are concentrated. It is a resonant solitude for the spiritual
powers. Because, even though they are alone and empty of
all shapes and natural apprehensions, they can receive the
spiritual sound with precision, which is extremely sonorous
in the spirit.... Also, the soul receives this sonorous music
without solitude and isolation of all things foreign….10)
(1) Thème
(2) Variation I
(3) Variation II
15) Ibid.
86 Ji Young Noh
<Example 3-6>A. Scriabin, Prelude and Nocturne for Left Hand, Op.
9, No. 2.
V. Conclusion
16) Ibid.
88 Ji Young Noh
References
<초록>
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Ji Young Noh
투고일: 2013년 2월 2일
심사일: 2013년 2월 3일
게재확정일: 2013년 2월 25일