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Johannes Brahms Sonata for Viola & Piano in F - minor Op.120, No.1의 분석연구

Johannes Brahms Sonata for Viola & Piano in F - minor Op.120, No.1의 분석연구
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(An) Analytic Study on Johannes Brahms' Sonata for Viola and Piano in F Minor Op. 120, No. 1
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대학원 음악학부
Johannes Brahms SonataViola & PianoF - minorOp.120, No.1음악
이화여자대학교 대학원
신고전주의 작곡가인 Johannes Brahms (1833-1897)는 고전주의 형식 위에 낭만주의적 이념을 결합해서 표현하려 했던 작곡가이다. 그는 동시대에 주류를 이루었던 극음악이나 교향시 등의 표제예술에 대항하여 전통적 고전주의 형식의 교향곡과 실내악을 선호하였다. 그 중에 Viola Sonata No. 1 f minor op. 120은 낭만시대에 작곡된 첫 비올라 작품이라는 것만으로도 연구의 필요성이 요구된다. 이 곡은 고전주의의 형식을 고수하면서도 기교면과 해석면에서 낭만시대의 기법을 요구한다. 따라서 형식에 있어서 고전주의 전통을 추구하여 빈틈없는 악곡의 구성력을 보여주고 있다. 본 논문에서는 'Sonata for Viola and Piano in F minor Op. 120, No. 1' 속에 나타난 그의 낭만적인 경향과 고전성을 살펴보기로 한다. 곡의 체계적인 분석을 통해 브람스의 특징을 이해함과 동시에 작곡가가 요구하는 명확한 해석에 더욱 가까이 접근하여, 합리적이고 완벽한 연주를 돕는데 그 의의와 목적이 있다. 분석을 통해 연주자들의 연주활동에 도움이 되고자 한다.;There have been many music works for Viola. Currently, however, more and more musicians are willing to perform 'Sonata for Viola and Piano in Fminor Op. 120, No. I' created by Brahms because the work are reflecting better his own unique music expression, imaginative power and creative composing techniques. Findings from the analysis of the great composer's work as above could be brought into the following conclusion. In the 1st movement, a sonata allegro in style, development is provided less than exposition and recapitulation. Especially in the part of introduction, figures are changed in various forms over the movement, for example, techniques of hemiolar rhythm, cannon and steto-based development. And the 1st movement uses the diatonic scale in melody and shows broken chord-oriented frequent reaps of the third and tenth. Further the movement is F minor in tonality. The 2nd movement has a style of three songs combination(A-B-A') and A in tonality as the same as in the 1st one. The part of A consists of the section of piano including internal conflicts caused by the preparation and resolution of 7th, 9th and 11th chords, and that of viola which is extremely lyric in melody, while the part of B proceeds with enharomic modulation like D ♭ major-C ♭major-A major or with the same tonality below major 2nd and 3rd. The 3rd movement proceeds with its style of Scherzo Ⅰ-Trio-Scherzo Ⅱ. It has the tonality of A ♭ major-F minor-A ♭ major in sequence. More notably, dominant 7th chord and tonic appear in turn under organ tone, or otherwise dissonance brought by appogiatura becomes resolved into consonance. The tonality used in the 1st movement is in sequential relationship with that in the 2nd one, while the same as that of the 2nd one under an organic connection. The 4th movement has a transformed Rondo sonata pateern in which the latter part of A is omitted unlikely in other similar patterns. Likely with the 1st movement, the 4th one develops introduction motive-based figures under principles of imitation, avant-garde, rhythm reduction and contrapuntal structure expansion. The tonality of the 4th movement is F major as the same as in the tune of the 1st movement. Based on these structure elements, the sonata by Brahms has consistency throughout the work. In other words, each of the movement is allocated with a sonata style as commonly used in the classicist period. Also it is shown the tonality between movements are restricted to the same tune or sequential tunes. When techniques used in composing the sonata by Brahms were analyzed here, it was found that figures on introduction motive basis were applued throughout all of the movements. As shown above, the work by Brahms is found representiong a better combination among classical forms, romantic harmonies and expression-oriented parts.
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