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L. V. Beethoven의 violin sonata op.30, no.2에 대한 분석연구

Title
L. V. Beethoven의 violin sonata op.30, no.2에 대한 분석연구
Other Titles
(A) Study of Lubwing van Beethoven's Violin Sonata Op.30, No.2
Authors
최현정
Issue Date
2001
Department/Major
대학원 음악학부
Keywords
Beethovenviolin sonata op.30음악악보분석
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
본 논문은 석사과정 이수를 위한 졸업연주 곡목들 중 L.V Beethoven Violin Sonata Of.30, No.2를 여러 문헌을 통해 연구하여 작품의 역사적 배경을 살펴보고, 곡의 내용과 구조적인 면을 분석하는 것을 주요 내용으로 한다. 베토벤은 그의 생애를 통해 모두 10곡의 Violin Sonata를 작곡하였는데, 그의 10개의 Violin Sonata는 연주자들 사이에 Duo Repertory 로써 사랑을 받고 있다. 베토벤 그 자신은 Bonn에서 Violinist 였다. Vienna에 도착 후 Schuppanzigh 와 Krumpholz 에게 레슨을 받았다. 그는 바이올린에 대한 뛰어난 재주는 없었지만, 악기에 대해 특별한 애정이 있어 심혈을 기울여 바이올린 곡을 작곡하였다. L.V Beethoven Violin sonata Op.30, No.2 는 그의 작품 시기 중 1기와 2기의 과도기에 속하는 작품으로 4악장으로 구성되어 있다. Op.30에는 3개의 곡이 들어있는데, 모두 1802년에 Czar Alexander에게 헌정 되었다. 10곡의 Sonata 중 Op.24와 Op.30의 No.2 는 유일하게 4악장으로 구성되어 있으며 나머지 곡들은 기본적인 3악장 구성을 하고 있다. 제1악장은 Sonata 형식, 제2악장은 3부 형식, 제3악장은 복합 3부 형식으로 Scherzo가 포함되어있는 악장으로, 성격은 Minuet 이라고 이름하는 것이 걸맞을 만큼 귀여운 악장이다. 이 곡의 마지막인 제 4악장은 Rondo 형식으로 이것도 베토벤 손으로 이루어진 Rondo 형식의 대부분과 마찬가지로 매우 불규칙한 7부 구조로 되어있다. 본 논문은 먼저 서론에서 연구의 목적을 밝히고, 본론에서는 Beethoven의 Violin Sonata Op.39, No.2를 각 악장별 구성, 화성 형식 등을 연구하고자 한다.;By analyzing Beethoven Violin Sonata Op.30, No.2, I have reviewed his musical tendency and its characteristic form and structure. we now recognize t]tat his music in the second period has changed greatly in comparison with his passive experimental musical style from his early music career. His music in the second period has established its dramatic character and well articulated. This Sonata represents his own characteristic that Is freely expressed and widely ranged of scales. Furthermore, Piano has its own elegant figures without ally limitation of musical factors that Violin may interfere. Therefore, these two different instruments perform equally. He expands the size of work as well as the size of each movement enormously. how the sonata-allegro form begins to portray a drama to the audience. The development is expanded and focused to present the struggle in the drama. The coda is also given more significance as one of main sections of the movement.' rho writing for both instruments become more virtuous. Yet in this sonata the period structure and the way phrases are developed remain fairly in tile classical tradition. He has tried to structure his sonata with the expression of unify and precise by using counter point such as canon, fugato and enhancement of various motivation. In addition, he brought vitality in rhythm by applying syncopation or hemiola. He also tried ta emphasize its dynamic point by rapid change of strong and weak beat. Finally, in the 1st movement of sonata it has structured with 4 sections by adding enlarged coda after exposition, development, recapitulation. In the 3rd movement instead of using minuet which has been used throughout the entire sonata, Beethoven has used scherzo. According to the final result of analysis, I can adjust it per movement as below. 1. In the 1st movement, it has style of sonata that structured with exposition, development, recapitulation which is classical sonata form but added coda that enlarged with 4 sections. 2. In the 2nd movement, it has a structure of simple ternary style in typical manner. 3. In the 3rd movement, it is composed as scherzo of compound ternary form which has active rhythm in its atmosphere rather than minuet mood. 4. In tile 4th movement, it is composed of rondo form that contain the subject with two factors. This subject gets small changes when it appears And when major change appears in middle section, the subject evolves with rondo and sonata mood.
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