성가SUNGGA
전례음악자료실
| 제목 | 솔렘 수도원에서 온 편지 | |||
|---|---|---|---|---|
| 이전글 | 인천 답동(주교좌)성당 미사참례기 | |||
| 다음글 | 그레고리안 성가 해석의 10 가지 원칙 | |||
작성자유원택
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작성일2000-06-30 | 조회수2,223 | 추천수0 | |
| Lawrence Heimann 교수님이 솔렘 성가연구의장인 Dom Daniel Saulnier, OSB 로부터 받은 편지입니다. 원문은 프랑스어입니다. 교수님 허락 받고 올리는 글입니다. The Style of solesmes In late April 1998, I (Heiman 교수님) wrote to the abbey of St. Peter, Solesmes, France, and requested a clarification of the present practice in singing the Chant at the Abbey. Dom Daniel Saulnier, OSB, director of Paleogaphic Musicale and Etudes Gregoriennes sent the following response: For a long time, thanks to the work of Dom Cardine (Heimann 교수님의 지도 교수), we have known that the rhythmic foundations for the "Solesmes Method" (of singing the Chant) were erroneous. P. Jean Claire (구 솔렘 수도원 음악감독, 현 솔렘 수도원장) has ceased to apply them since 1972. In my own teaching outside the monastery, I customarily rely on three guiding factors: 1. The text (가사 내 강조와 의미) 2. The melody with its modal structure and ornamentation ( 악보 중 어느 것이 장식이고 어디가 주 선율인지 분류하는 것 포함) 3. For rhythmic details, the paleographic neums. ( 리듬은 고문서를 따름) This manner of approaching the interpretation is shared by the best specialists, I think, notably among the members of I'AISCG (International Association for Studies in Gregorian Chant), and in particular Luigi Agustroni, John Berchmans Goeschl, and a good number of others. Consequently, the Community of Solesmes no longer follows "The Method of Solesmes," which was put together as guidelines for the needs of Gregoeianists outside the monastery. For a long time we have adopted a manner of singing which might be called "The Style of Solesmes." The rhythm of the text is primary. We also pay a great deal of attention to the melodic line. This thinking is shared by all of our specialists. Little by little and in a moderate fashion the schola introduces and integrates the progress of semiology. It should not be forgotten that monastic choir is not a conservatory and that the majority of the monks have not pursued musical studies. One must therefore be very, very modest in the area of interpretative finesse. In the end, for the monks, the Chant is above all understood and used as a support for their daily prayer, which occupies several hours of the day. Therefore, one must avoid being preoccupied excessively with musical minutiae. Concerning chironomy, the traditional approach (the "Solesmes Method") went contrary to Gregorian musical composition. The new approach (the "Style of Solesmes") respects the rhythmic factor of the test. P. Daniel Saulnier, O.S.B (Freely translated by Fr. Larry Heiman, C.PP.S.) | ||||
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