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W. A. Mozart Horn Concerto No.4 Eb Major K.495에 대한 연구 분석

Title
W. A. Mozart Horn Concerto No.4 Eb Major K.495에 대한 연구 분석
Other Titles
An Analytic Study on the Horn Concerto No.4 in E♭ Major K.V.495 by W.A.Mozart
Authors
최지은
Issue Date
2005
Department/Major
대학원 음악학부
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
고전주의는 고대 그리스의 아폴로 숭배자들의 이상인 객관성, 감성, 감정의 억제 및 형식의 명료성과 균형 등을 의미한다. 비록 이러한 것들이 음악사의 어떤 다른 시대에도 어느 정도 반영되었다 하더라도 그런 이상들을 보다 분명하게 추구하고 실천하는 것은 고전주의 시대였다. 그것은 기악에서 더욱 뚜렷하게 나타난다. 고전파의 대표적인 작곡가인 모차르트는 18세기 후반에 지역적인 범주를 뛰어 넘어 활동하였던 작곡가이다. 그의 음악은 아름답고 정교하면서도 우아한 기풍을 갖고 있으며 그의 짧은 생애에도 불구하고 여러 장르의 음악작품을 통해 고전파 음악의 발전과 완성에 큰 공헌을 하였다. 모차르트의 4개의 호른 협주곡들은 그의 생애에서 무엇보다도 피아노 협주곡이 풍부했던 시기에 속하며, 4곡의 호른협주곡 중 제4번은 오페라<피가로의 결혼>이 씌어진 1786년에 작곡되었다. 본 논문에서는 모차르트가 작곡한 4곡의 협주곡 중 Horn Concerto No.4 in Eb Major 의 분석을 통하여 W. A. Mozart Concerto의 양식과 특징, 악곡의 형식, 선율 및 구조적 특성, 화성에 대하여 파악함으로써 모차르트 음악의 우수성을 규명하고 논리적이고 체계적인 작품의 이해와 작품 연주에 도움이 되고자 한다.;Wolfgang Amadeus Mozart(Jan. 27, 1756~Dec. 5, 1791) was, together with Franz Joseph Haydn(1732~1809), Ludwing Van Beethoven(1770~1827), one of the representative composers who had firmly established the classic music style that prevailed in the latter part of the 18th Century. His music is characteristically elegant, sweet and distinct. His huge contribution to progress and accomplishment of the classic music in Vienna stood out conspicuously in lihgt of his fairly short span of life. In such a short period, he composed musics of all genres and even 4 horn concertos for his friend Leugeb Ignaz Joset, a then hornist. Following is the outcome of an analytic study into W.A.Mozart Horn Concerto NO.4 in Eb Major K.495. The First Movement is a sonata style composed of exposition, development, revival and closing. The exposition is again divided into A and B of the first theme, the second theme and coda. The composition starts with E-flat major and so closes the exposition. The development may be divided into 4(A, B, C and D) parts, In part B, the composition occurs from A-flat major to B-flat major. In the revival, the 1st theme is transformed to E-flat major and proceeds through the 2nd theme, coda and cadenza to the closing. With regard to the structural characters of melody and harmony, the first movement is frequently using the sequential downward and upward progression in the same form, rendering and receiving technique in the solo and accompaniment of thematic melody and from time to time using main melody in the accompaniment blended with counter melody of solo instrument. The Second Movement is composed of 3/4 and is an andante mini rondo in form. This is divided into A-B-A-C-A, in which the part A, as a whole, consists of B-flat major, while the part B is made up with F major and the part C with G major. Here, three groups of notes are employed in abundance, as often found in a slow pieced of music, to inflate the level of tension to some extent. When a piece with three groups of notes is played, we can listen to 3/4 played with eighth notes in the accompaniment. More powerful music can be performed with 3/4 if the left hand plays eighth notes on the piano while solo and accompaniment play three groups of notes together in the rear part. Far more tension is effectuated with pulling sounds inserted in the middle phase of the piece. The Third Movement is 6/8 rondo in form, comprising A(E-flat major)-B(B-flat major)-A(E-flat major)-C(C minor)-A(E-flat major)-B(E-flat major). Since this part doesn't use the complicated harmony generally and there isn't any transposition in harmony or magnificence in melody basically, everybody can enjoy it with a light heart. It is also remarkable to note that the accompaniment is faithfully supported by basic rhythm to accentuate the simple melody of sole, refraining from unnecessarily magnificent expression. The thematic melody is played in accompaniment of piano and the solo instrument repeatedly plays the emphatic part of counter melody and rhythm. As to the dominant chord used, more emphasis is seen to be placed on the transposition of 7 harmonies. It is also noted that the secondary dependent chord is occasionally used to add gorgeousness to the simple harmony generally.
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