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Edvard Grieg의 Violin Sonata in c minor No.3 Op.45의 연구 및 분석
- Edvard Grieg의 Violin Sonata in c minor No.3 Op.45의 연구 및 분석
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- A study on Edvard Grieg Violin Sonata in c minor, No.3 op.45
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- 대학원 음악학부
- 이화여자대학교 대학원
- Edvard Grieg‘s Violin Sonata in c minor No.3 Op.45 is his typical work that was reflected national characteristics as well as having features peculiar to Grieg, by using a nationalism color and folk dance-music rhythm in Norway.
As the first movement is the modified sonata form, it is suggested the 2nd theme followed by being performed the 3rd theme as the 1st theme is tranquilized after being culminated by the opening theme as if trying to express a hero's bravery owing to the use of drastic musical motif. It is played a variation of the 1st theme and the 3rd theme without separately having the development section. This again appears in the recapitulation in the back. In the final section Coda I, an extreme sense of tension is maintained along with the use of dynamics in PP and a change into tempo of Presto.
With passing to Coda II, the tension is accentuated. Subsequently, the conclusion is made with short Coda in c minor like thunder. Also, this movement could be seen to take the mutually imitating form as if having a conversation between Violin and Piano, to express free tonality in major and minor due to the mixed chord in major and minor, which had been used often by composers in the Romantic Period, and to be dominated by transition through enharmonic, which is shown frequently, and by V-degree harmony in c minor.
As the second movement is sonata form of traditional Romaza style, it is composed of 3-part form. The exposition is developed with lyric melody in calm and peaceful Piano Solo. Given reaching the development section, the melody in folk dance music of Norway, which is cheerful as if being playful, appears. Variety could be felt by using dynamic, tempo, and pizz every part, and by giving a change to tonality. As the third movement is the sonata form, which is omitted the development, it is progressed with development in fast passage, and was used melody in Norwegian music dance as the theme. With entering the 43 measures, the development of accompaniment is impressive as if the piano whirls along with passionate melody of violin. This is again shown the same theme in the recapitulation. Sequentially, in Coda section, a sense of tension is maximized by chromatic 8-degree up progression and by repeating this above one octave. It is finished with the fierce end with mutually giving and taking code.
As for this piece of work, every movement is taking the musical form in the Romantic period in the late 19th century. It was modified and developed a motive, which was given to each movement, thereby being indicated over the whole movements. Mutual imitation between violin and piano was notable. Also, through folk element in Norway, namely, melody in syncopation and long phrase, it could be observed to have aimed to express his racial color sensation. It could be known not to largely escape from the romantic technique in frequent use of transition and half-diminished seventh through enharmonic, and in progression of chromatic melody.;본 논문은 E.Grieg의 Violin Sonata in c minor No.3, Op.45가 작곡 된 시대적 배경과 작곡가의 생애 및 작품에 대한 연구 및 분석에 초점을 두고 있다. 연주자로서 이 곡을 연주하는데 있어 그의 음악적 사상과 작품에 접근함으로써 연주의 토대를 쌓고자 하였다.
19세기 초 낭만주의 성향 속에 일각에서 새로운 음악의 사조가 나타나기 시작하였다. 민족주의 음악이 러시아를 중심으로 일어나 작곡가들 사이에 민족적 의식이 강조되는 작품을 쓰자는 운동이 싹 터 점차 퍼져 나갔다. 특히 러시아 5인조 음악가들을 중심으로 일어난 이 음악 운동이 전 세계의 많은 작곡가들에게 영향을 주었고 민족적 자각을 일깨웠다.
이 시대의 작곡가 E.Grieg는 독일 낭만파 음악의 기초 위에 노르웨이 민족음악의 선율과 리듬을 많이 도입함으로써, 민족적 색채가 짙은 작품을 다수 작곡하였다. 그 중 그가 작곡한 3개의 Violin Sonata에서 작곡가로서 성공한 후 에 마지막으로 작곡된 Violin Sonata in c minor, No.3 Op.45가 이 논문에서 연구하게 될 Grieg의 민족적 정서가 뚜렷이 드러나는 대표적인 작품이다.
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