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L. v. Beethoven의 Violin Sonata No.8 in G Major, Op.30-3에 관한 분석 연구

Title
L. v. Beethoven의 Violin Sonata No.8 in G Major, Op.30-3에 관한 분석 연구
Other Titles
An Analysis on L. v. Beethoven Violin Sonata NO.8, G Major, Op30-3
Authors
김혜민
Issue Date
2011
Department/Major
대학원 음악학부
Publisher
이화여자대학교 대학원
Degree
Master
Advisors
최한원
Abstract
In this analysis, I have looked into the characteristics of the period in which L. v. Beethoven lived, the general musical and periodical features and the characteristics found in Beethoven's ten Sonatas in order to analyze his Violin Sonata No.8, G Major, Op.30 No.3. Considered one of the greatest composers of all time, L. v. Beethoven is particularly well known for his Moonlight Sonata and other sonatas for piano; for his string quartets; for his concertos; and for his nine symphonies. Violin Sonata No.8, G Major, Op.30-3, composed at the end of his first period, was composed in the classic stint of Haydn and Mozart but had a personality of its own. Consisting of three movements, the first movements has part development, part recapitulation, part structure form of exposition while the second movement consists of an A-B-A structure and the third movement presents a rondo form of an A-B-A-C-A structure. In the first movement, Beethoven uses a contrast between masculine keys in the first theme and feminine keys in the second theme to maximize its expressions. The second movement is divided into three sections with various modulations. The "A" section is more extensive while the "B" section is written in minor and is irregularly trended, making it rather short to be considered as a theme and more apt to be a closing section. The third movement consists of five section in a modified Rondo style as A-B-A-C-A. However, the closing section extends to 54 measures and can be treated as an additional section, which is Beethoven's preferred style on closing sections. In this piece both piano and violin share roles in playing melodies. This song shows the real meaning of a Duo Sonata in which we can see the progress the role of the Violin made as being treated equally with the piano from earlier Sonatas where the piano had a more essential role. This thesis focuses on the music of one of the most remarkable composers in the history of music by analyzing and studying his Violin Sonata No.8, Op.30-3, with the purpose of understanding his composing style at the time he was passing from his first period to his second period.;루드비히 반 베토벤(Ludwig van beethoven 1770-1829)은 고전주의시대의 대표적인 천재음악가로 고전파음악을 최고 경지까지 발전시켰을 뿐만 아니라 나아가 낭만파 음악의 문을 연 선두주자이다. 그는 고전주의 형식 위에 베토벤만의 독창적인 음악적 시도를 하였으며, 그것들을 잘 혼합시켜 자신만의 독자적인 색체를 구축하였다. 독일의 ‘악성’ 이라 일컬어지는 그는 자신의 작품에 완벽을 기했으며, 고전시대와 낭만시대를 어우르는 과도기적인 성향을 보이는데 이러한 면은 그의 작품 속에서 잘 나타난다. 베토벤은 그의 일생 동안 10곡의 Violin Sonata를 작곡하였는데 그 중 Op.12~Op.30까지의 8개 작품은 1798년부터 1802년 사이에 작곡되었다. 「Violin sonata No.8, Op30 No.3 G Major」은 1801년에 시작하여 1802년에 완성된 3개의 Violin Sonata중 3번째 작품이다. 이 작품은 3악장 구성으로 제 1악장은 전형적인 Sonata형식으로 작곡되었으며, 제 2악장은 3부형식 으로 제1주제와 제2주제가 대조적인 리듬과 선율로 작곡되었고, 제 3악장은 Rondo 형식으로 빠른 템포와 경쾌한 멜로디를 갖는다. 이 작품에서는 이 전에 쓰여진 7개의 다른 Violin sonata에 비해 Piano와 Violin이 동등하게 역할을 하며 고전주의의 균형 미가 잘 나타난다. 본 논문에서는 베토벤 초기 작품인 Violin sonata No.8, Op30 No.3을 분석하고 작곡가의 배경과 일반적인 음악특징을 연구하여 전체적인 구조를 이해하고 더 나아가 그의 음악세계를 이해하여 연주함에 있어서 도움이 되고자 한다.
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