피아노 실기교육(實技敎育)의 과제곡(課題曲) 선정(選定)을 위한 Repertory분석연구(分析硏究)

Analysis of Repertories of Piano Concents and Its Application to Piano Education

In this paper, I collected the programs of the piano concerts held in Korea, Japan and other countries through the decade, 1970 - 79, classified and analyzed the repertories, and compare the contents of the programs in Korea with those of Japanese and the other countries. I also analyzed the types of technique and presented many works of piano lesson for exercise and reference. 1) Among 905 played during the decade, the number of works which had been played only once or twice was 467, which showed a variety of repertories. 2) The number of composers per program were 4(35.71%) or 3(25.71%) and the percentage of programs contained only one composer’s work was 2.86, in Korea while the percentage of Japanese one-composer’s-works programs was 13.46, and the other countries’, 18.13. The numbers of works played per concert were 4(99times), 5(83), 6(82), and the concert Held with one repertory was non in Korea. The number of concerts in which more than 10 works had been played was no-more than 7 in Korea, while 48, in Japan and 39, in the other countries, which showed that there had been more short pieces played in other countries than in Korea. 3) The birth dates of the total of 85 composers ranged form 1900 s to before 1600’s; 1800’s (51), 1900’s (12), 1700’s (9), 1600’s (8), before 1600’s (5). Therefore the Romantic Style and Modern Style including Impressionism, Nationalism, Expressionism, and Neo-classicism consisted of the most of works played, and the other Styles were Classicism (12.39%) and Baroque (5.42%), 4) Chopin (33.56%) and Debussy (11.20%) were the most frequently played composers and Beethoven, Liszt, Bach, Scarlatti and Mendelssohn in order were played frequently in Korea, while relatively in Japan, Ravel, Rachmaninoff and Scriabin were main composers, and in other countries, Schubert, Schumann, Brahms and Faure were played frequently. 5) The degrees of difficulty (from level 1 - 6) were 5.17 in Korea, 5.48 in Japan, and 5.53 in the other countries, which showed that the degrees of difficulty in foreign countries were a little higher than that of Korea. 6) The percentages of the performance of domestic composer’s works were 7.86 in Korea and 7.67 in Japan respectively. The percentage of the performance of Korean composer’s works by foreign pianists was 2.50 and that of Japanese composer’s works by foreign pianists was 1.54, which showed that forein pianists played more Korean works than Japanese ones. 7) With the above analysis and classification of the techniques of the works which had been played more than 5 times, I selected 124 works for piano exercises. Among works which had been played more than 10 times, I also selected 95 works which varied in their technigues and consist of some movements, and I present 47 works which had been played the whole pieces with the analysis of their number of movements, playing-time, difficulty and freguency. In consequence, it is certain that the main techniques of works are Chord, Arpeggio, Expression of Melody, Scale and Octave. At the end, I feel certain that these analysis of Repertories and its application to piano education are to studied more.