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Ludwig van Beethoven Cello Sonata Op.69 No.3 in A Major에 대한 연구

Title
Ludwig van Beethoven Cello Sonata Op.69 No.3 in A Major에 대한 연구
Other Titles
A Study of Beethoven's Cello Sonata in A Major, Opus 69, No.3
Authors
김아람
Issue Date
2007
Department/Major
대학원 음악학부
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
A Study of Beethoven's Cello Sonata in A Major, Opus 69, No.3, which stylistically and theoretically is perhaps one of the most distinguished and most talked-about work Beethoven ever wrote, is an interesting experience of Beethoven's evolving of writing style. The cello sonata in A Major, Opus 69, No.3 was published in 1808, which fall under the second period of Beethoven's music by vincent d' Indy's classification. Ludwig van Beethoven (1770-1827) was last composer of classical era who played a role as a bridge of classical and romantic era. The second period of his life as a musician was characterized by his devotion to creative composition. This Sonata was more drastic and decisive in showing the register, technique, and other details when were absent in his former two sonatas. With a lot of value in music history, it enjoys on going popularity. In Cello Sonata No.3 Op 69, several progresses were found in respect of the form and content. The Sonata form is used in the first and last movement in this work, and in the second movement, the past custom of beginning by adagio was omitted and the movement of scherzo was appeared. Cello Sonata No.3 Op 69, was composed in the second period that creative activity was the highest. It was consisted of three chapters while the previously composed Cello Sonata No.1 Op 5-1, and No.2, Op 5-2 were two chapters. Then the chapter numbers were stabilized formally by using sonata form for the first chapter and the third chapter. In addition the rile of piano which had been only an accompaniment was broadened and widened with the melody of cello. This type of harmonic practice makes the music sound so romantic far ahead of time, but at the same time logically embedded within the structure. Perhaps this piece contributes to foreshadowing of Beethoven’s late style. As the whole discussion shows, Beethoven, long before his late works, showed plenty of potentials to become a revolutionary romantic composer. The form, which in this piece he stays closely with the tradition, would also start breaking away from the tradition as it already started with the harmony in this piece.;본 논문은 Ludwig van Beethoven Cello Sonata들 중 하나인 Op.69 No.3을 분석함으로서 베토벤의 음악을 좀 더 넓게 이해하는데 그 목적이 있다. Beethoven은 고전주의에서 낭만주의의 교량적 역할을 담당한 중요한 작곡가이다. 그의 작품은 고전시대 말과 낭만시대 초에 걸쳐 작곡되었기 때문에 각기 그 특성을 달리 하고 있다. 따라서 그의 모든 음악은 초기부터 후기에 Beethoven은 빈 고전파 시대의 마지막 거장으로 고전파 시대와 낭만파 시대의 이르기 까지 일괄된 발전 과정을 거친다. 그는 모든 장르에 걸쳐 작품을 썼고 음악사에 커다란 공헌을 하였는데 특히 형식주의, 전통주의의 틀을 벗어나 자유로운 감정 표출과 형식으로 낭만음악에 많은 영향을 줌으로서 서양음악의 발전에 지대한 공헌을 하였다. Beethoven Cello Sonata No.3 Op.69는 베토벤의 음악의 제 2기에 해당하는 1807년과 1808년 사이에 작곡되었다. 제2기에는 구체화의 시기로 불리웠으며 자신의 개성을 표출하고 독창적인 작품이 작곡되며 소나타 형식이 완전히 소화된 시기였다. Beethoven Cello Sonata No.3 Op.69는 먼저 작곡된 Cello Sonata보다 음역과 기교면에서 훨씬 대담하게 작곡되었고 형식면에서도 안정되었고 음악사의 중요한 의미를 가지고 있다. 이 연구를 통하여 Beethoven 음악의 전반적인 특징과 작품의 배경을 이해하고 악곡의 구조와 전개 방식의 분석을 통해 악보에 담긴 작곡가의 정신을 재현하여 실질적인 연주의 해석과 표현에 도움을 얻고자 한다.
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