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L. v. Beethoven의 피아노 소나타 op.7에 관한 연구

Title
L. v. Beethoven의 피아노 소나타 op.7에 관한 연구
Other Titles
(A) Study on the Analysis of Piano Sonata No.4 in Eb major, op.7 by L. v. Beethoven
Authors
김소연
Issue Date
1997
Department/Major
대학원 음악학과
Keywords
피아노소나타Beethoven베토벤
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
본 논문은 L. v. Beethoven의 피아노 소나타 op. 7에 나타난 음악적 특징을 고찰할 목적으로 이루어졌다. 1796년에 작곡된 이 곡은 초기 작품으로 본 논문에서는 이 시기의 피아노 소나타들에 나타나는 특징들을 고전시기의 대표적 작곡가인 하이든, 모짜르트, 클레멘티로부터 받은 영향과 관련시켜 다룬 후 op. 7을 형식, 선율과 리듬, 짜임새를 중심으로 분석하여 작품의 성격을 연구하였다. 베토벤의 초기 작품 중 하나인 피아노 소나타 op. 7은 4악장 구조로 되어있으며 모든 악장이 코다를 가지고 있다. 1, 2, 3악장은 단순한 3화음을 기초로 한 주제를 가지고 있으며, 1, 2, 3, 4악장에서 나타나는 하성부의 반복음은 악 장간의 연관성을 보여준다. 또한 canon적인 악구, 지속음, 3도 병진행, 분산화 음형의 악구, 완전 1도 진행 등이 많이 쓰였는데 이는 클레멘티의 영향을 보여 준다. 음정구조에 있어서는 3도 구조가 지배적이며 순차진행, I-V의 반복, V의 연장등이 많이 쓰인다. 그러나 당김음, 전타음, 도약음정의 사용, 주제음형간의 대조, 넓은 음역의 사용, 리듬의 다양한 변형 등은 비교적 안정된 화성 구조안에 있는 이 곡에 극적인 성격을 부여한다. 이상에서 알 수 있는 것은 베토벤이 하이든, 모짜르트, 클레멘티로 부터 받은 영향에 그의 초기 피아노 소나타에서 베토벤만의 특성으로 자리잡아 가며, 고전파의 작품에서 중요한 원리인 대조, 통일성, 발전기법, 그리고 중·후기 작품에서 보여지는 전악장의 통합, 규모의 확대 등의 요소가 op. 7에서부터 나타나기 시작했다는 점이다. 이는 베토벤의 다른 작품들을 연구하는데 기초자료가 될 것이며, 앞으로는 베토벤의 초기 피아노 소나타에 대한 연구가 보다 여러 측면에서 이루어지기를 기대한다.;The subject of this research, Piano Sonata No. 4, was one of Beethoven's early sonatas. This work shows affluent expressions briefly and appeared as an independent number at first. This work described the aspect of circularity and maturity harmoniously with good contents and extension of constitution. Though this sonata, we can find Beethoven's creative spirit searching for newness and his logical attitude toward composition. Although Beethoven based his composition technique on classicism and was influenced by Mozart and Haydn at first, he liberated the classical forms from their former restriction, giving them altogether greater expansion and flexibility. In other words, Beethoven acheved the relation and unity of each movement by using combinations of motives in his Piano Sonata, establishing a good contrast of characteristics of two subjects even with melodic direction. With the various changes of formation and modulation he made his own creative world attempting multilateral approaches to express one spirit composed of many movements. Consequently these early experimental technics showed clearly that while his earliest works were based on classical models, his later works were more independent in form and character and that furthermore he was a leading free spirit of Romanticism. After analysing Piano Sonata No. 4, some peculiarities can be found, as follows. 1. This sonata shows more notable augmentation than the previous works in scale and style. The new will of the younger Beethoven can be seen in that he used the four-movements form instead of that three-movements. 2. The first movement is Sonata-Allegro form, and reflects fully the classical style, leading energetic and eloquent subjects with dynamism. The second movement is composed in song form and holds deep feeling that has various colours and sonorities which balance the slow melodies appearing through the chromatic harmonies. The third movement is in a Compound ternary form of Scherzo-like brilliance. Especially the emotional melody of middle part by much modulation and dynamic changes illustrates the range of Romanticism. The fourth movement is a brilliant finale and full of delicate. In this rondo sonata form we can see Beethoven's perfection. 3. These four movements based on many motives which have the possibility of great musical development, show the technic of motive concoction combined organically with many elements, by using transformation, ornamentation, augmentation and diminution. 4. The various changes in the range of notes have the variegated effects indicating tension and relaxation appropriately. Also it is a characteristic that the large scale coda at the end of each movement is used. Beethoven's ceaseless pursuit of music and his creative spirit for newness have been kept alive until this time and still objects of study. These facts will naturally result in sympathy for his true aspirations. In order to perform his works properly, we must have a sincere attitude to approach not only his musical technics, but also his real musical image. By doing so we can experience a better performance.
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