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dc.contributor.author장에스터-
dc.creator장에스터-
dc.date.accessioned2016-08-25T06:08:59Z-
dc.date.available2016-08-25T06:08:59Z-
dc.date.issued2003-
dc.identifier.otherOAK-000000028909-
dc.identifier.urihttps://dspace.ewha.ac.kr/handle/2015.oak/181887-
dc.identifier.urihttp://dcollection.ewha.ac.kr/jsp/common/DcLoOrgPer.jsp?sItemId=000000028909-
dc.description.abstractThis 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.-
dc.description.tableofcontentsⅠ. 서론 = 1 Ⅱ. 본론 = 3 A. 바하의 생애와 작품 개괄 = 3 1. 바하의 생애 = 3 a. 성장 및 학습의 시절 (1685∼1702) = 4 b. 아른슈타트 - 뮐하우젠 시절 (1703∼1708) = 4 c. 바이마르 궁정에서의 시절 (1708∼1717) = 5 d. 쾨텐의 궁정 악장 시절 (1717∼1723) = 6 e. 라이프치히의 칸토르 시절 (1723∼1750) = 7 2. 바하의 작품 개설 = 8 B. 춤 모음곡 = 11 1. 바로크 시대의 춤 모음곡 = 11 2. 바하의 기악곡에 사용된 춤 모음곡 = 12 C. 무반주 첼로 모음곡에 관하여 = 16 1. 작곡 시기와 작품 소개 = 16 2. 제 1~5 모음곡 각 곡의 요약 = 18 a. 제 1모음곡 사장조 BWV 1007 = 18 b. 제 2모음곡 라단조 BWV 1008 = 21 c. 제 3모음곡 다장조 BWV 1009 = 23 d. 제 4모음곡 내림마장조 BWV 1010 = 27 e. 제 5모음곡 다단조 BWV 1011 = 30 D. 무반주 첼로 모음곡 중 제 6곡의 분석 = 35 1. 제 6모음곡의 구조와 특징 요약 = 35 2. 각 악장의 분석 = 37 a. Pre´lude = 37 b. Allemande = 40 c. Courante = 42 4.2.4. Sarabande = 45 e. Gavotte Ⅰ,Ⅱ = 47 f. Gigue = 49 Ⅲ. 결론 = 52 참고문헌 = 54 Abstract = 55-
dc.formatapplication/pdf-
dc.format.extent1818805 bytes-
dc.languagekor-
dc.publisher이화여자대학교 대학원-
dc.subject음악학-
dc.subjectJohann Sebastian Bach-
dc.subjectSix Suites for Violoncello Solo-
dc.subject바흐-
dc.titleJohann Sebastian Bach의 Six Suites for Violoncello Solo의 제 6곡에 관한 분석-
dc.typeMaster's Thesis-
dc.format.pageiv, 56 p.-
dc.identifier.thesisdegreeMaster-
dc.identifier.major대학원 음악학부-
dc.date.awarded2003. 8-
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