Dietrich Buxtehude has received relatively little attention in Korean musicological society. In particular, our understanding of his music primarily focuses on the organ works that Buxtehude composed in the course of his tenure as an organist at St. Mary’s church in Lübeck, resulting that a study that deals with his sacred vocal music is highly limited. However, considering that Buxtehude wrote a large number of vocal works containing cantatas, concertos, and oratorios, the sacred genres that are representative of the late 17th and early part of 18th century Germany, a research that examines the music and the text of these works appears to be in due course. In an attempt to address the characteristics of Buxtehude’s vocal composition, this paper analyzes one of his important cantatas, 《Membra Jesu Nostri》, first explaining the formal structure of the work, moving to the detailed discussion of the musical configuration, harmonic progression, and the metrical structure of the work. Particular attention is given to the ways in which Buxtehude musically illustrates the messages of the text by integrating various musical factors that I listed above into the work. In addition to the musical analysis, this paper explores Buxtehude’s relation to pietism of the 17th century, arguing that the text of 《Membra Jesu Nostri》, sometime implicitly and other times explicitly, suggests a strong undercurrent of pietism. As a result, the paper demonstrates a refined and a sophisticated musical work that is built on the basis of rhetorical expression with various layers of musico-textual meanings.
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