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A. Scriabin의 fantasy in B minor, op.28의 분석

Title
A. Scriabin의 fantasy in B minor, op.28의 분석
Authors
이종은
Issue Date
1999
Department/Major
대학원 음악학과
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
Alexander Nikolavich Scriabin(1872-1915)는 러시아의 작곡가겸 피아니스트로서 19세기 말에서 20세기 초에 활동한 작곡가이다. 그의 작품은 6개의 교향곡을 제외하고는 피아노곡으로 귀결되고 있다. 그의 음악양식은 초기에는 낭만주의적 성향을 갖으나 중기인 1903년부터 <신비주의>의 철학사상에 영향을 받아 <신비화음>을 작곡에 사용하게 된다. 본 논문에서 다루고자 하는 A. Scriabin의 Fantasy, Op 28은 1900년에 작곡된 그의 초기의 음악으로써 낭만주의 시대의 Fantasy의 형식을 취하며 화성에 있어서는 반음계의 진행과 불협화음이 빈번하게 나타남으로서 조성의 모호성을 꾀하는 현대음악의 경향을 보이기도 한다. 이 작품은 시기적으로 그의 3개의 Sonata No,1,2&3(Op.6,19,&23)과 중기의 Sonata No.4, Op.30이후의 작품들 사이에 작곡되었고, Sonata는 다악장에서 단악장으로 변화되는 전환점에 작곡되었다. 이 곡은 자유로운 Sonata Allegro Form이고 A. Scriabin은 Fantasy라는 자유로운 양식을 통해 Sonata의 형식의 틀을 벗어나고 있다. 본 논문에서는 의 분석을 통해 그의 초기 음악의 특징과 이 곡이 그의 음악역사상에서 차지하는 위치를 파악해 보고자 한다. ; The purpose of this study is to ascertain the salient characteristics of early piano works of Alexander N. Scriabin. His Fantasy in b minor, Op. 28 is chosen to demonstrate how he deviates from the multi-movement sonata cycle to the one movement sonata-allegro form with cyclic ideas that became the norm in his later sonata pieces. A Russian composer and pianist in the late 19th and early 20th century, A. Scriabin had no connection with the nationalistic movement of the time. Although he admired and learned from his fellow Russian composers, he developed his own musical language. Prominent features of his early works are compound meters, triple units, and remote key signature. From 1902, he was deeply interested in theosophy, mysticism, and Nietzchean philosophy. His increasing preoccupation with philosophical and mystical ideas are reflected in his creation of a new musical language called "Mystic Chord" and ambiguous tonality often characterized to be atonal. A Scriabin s Fanatsy situated as the last piece of his early piano works shows how he gradually formed his own musical style. As with his early piano music, it shows a strong influence by Chopin in the use of chromatic harmonic progression, freer rhythmic deployment, and lyrical atmosphere. However, one can also detect the influence of Liszt, Wagner, and Franck. His early compositions appear to be the late Romantic style, using chromatic harmonic progression and triton. Fantasy in b minor, Op. 28 is a free style sonata-allegro form, although it is called fantasy. With its freer structure, however, it is different from the three previous works called sonata in its one movement scheme. The piece is divided largely into three sections: (1) Exposition; (2) Development; and (3) Recapitulation with a coda at the end. The first section can be seen as exposition with the presence of the first, second and closing thematic groups. The development section is based on the thematic materials of the first section with melodic and rhythmic modification. The thematic materials of the exposition returns in the end forming the recapitulation section. The recapitulation is in A-B-A + Coda. A short development section and the recurrence of the second thematic materials toward the end of the recapitulation distinguish this piece from the rigid sonata-allegro form. All in all, the structure of Scriabin s Fantasy reveals the late Romantic period s Fantasy works. One movement with several small sections, yet within the boundaries of a sonata-allegro form. Of course, the strict rule of the key polarization is no longer observed and cyclic idea in providing the unity in the piece is the norm. However, the audacious harmonic progression, and the less prominent role of melodic line, in this piece anticipate his later musical style. Alexander N. Scriabin s works have not been evaluated properly because of his much disputed musical language deeply influenced by his philosophical thinklings that no one could really understood what his music portrays. However, the analysis of A. Scriabin s Fantasy b minor, Op. 28, including both the traditional traits of piano music strongly influenced by Chopin, yet with the advanced treatment of harmony, rhythm, and melody, reals the composer s transitional role as an influential composer between the Romantic period and the 20th century.
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