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Johann Sebastian Bach의 Six Suites for Violoncello Solo의 제 6곡에 관한 분석

Title
Johann Sebastian Bach의 Six Suites for Violoncello Solo의 제 6곡에 관한 분석
Authors
장에스터
Issue Date
2003
Department/Major
대학원 음악학부
Keywords
음악학Johann Sebastian BachSix Suites for Violoncello Solo바흐
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
This thesis consists of an analysis of Suite No. 6 of Six Suites for Violoncello Solo by Johann Sebastian Bach, and a research about the dance suites of Baroque period. Johann Sebastian Bach was a great composer, who had reputation as the best synthetic artist in the history of westernmusic. From his early days to later years of composing works, which lasted about 50 years, Bach composed musical works in all genres of the Baroque period, except for the opera. Bach composed choral pieces in masses, cantatas, passions, and oratorios; instrumental pieces in concertos, ensembles, unaccompanied solo pieces; and keyboard pieces. Bach's master pieces totaled about 1,120 in number. In 1720's Bach was working as a music director of Cotten, when he composed Six Suites for Violoncello Solo. At the time, cello was not a recognized solo instrument. Cello played the supporting role as continuo bass instrument. Therefore this work is considered as an epoch-making work. The structure of the suite is in the same as sequence of popular dance suites in Baroque period. The sequence is in collection of four basic movements -Allemande, Courante, Sarabande, and Gigue -with optional movements such as Menuet, Gavotte, or Bourre`e inserted. Bach expressed two distinct harmonic way of playing cello in this suite. 1) The harmonic effect of plural voices from single melodic line progression, and 2) The harmonic effect from actual multiple stops playing. From these two techniques, Bach showed a perfect combination of the polyphonic and harmonic progression in an unaccompanied instrumental work. No.6 in D major, BWV1012, is the most grandiose and brilliant of the Six Suites. This suite was originally composed for a five-string instrument (C, G, D, A, E), either the Viola pomposa or the violoncello piccolo. Use of three octaves-plus range, very difficult multiple stops chords that require proficient instrumental technique, and rhythms that reflect characteristics of each dance pieces result in a perfect display of a Baroque period dance piece's appeal.
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