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Beethoven의 piano sonata op.57 "Appassionata" in F minor 연구

Title
Beethoven의 piano sonata op.57 "Appassionata" in F minor 연구
Authors
안미자
Issue Date
1980
Department/Major
교육대학원 음악교육전공
Publisher
이화여자대학교 교육대학원
Degree
Master
Abstract
베토벤 (Ludwig van Beethoven : 1770-1827)은 古典主義 음악 (classic Music)의 말기에서 낭만주의 음악(Romantic Mssic)의 초기에 걸쳐서 교량적인 역활을 한 독일이 낳은 위대한 음악가이다. 당시 독일은 개인의 주관적 가치에 의한 정신을 근원으로 삼았던 헤겔 (Georg Fridrich Wilhelm Hegel : 1770-1830)의 관념론적 형이 상학, 그리고 프랑스 革命^(1)의 人問內面 世界에 의한 個人의 自由와 平等의 물결이 모든 예술 분야에서 일어났다. 이리하여 古典的 理想의 질서와 균형, 감정억제에서 점차 자유로운 감정표출로 추상적인 美를 찾으려는 낭만주의의 새로운 전통을 낳게 되었다. 베토벤은 모짜르트 (Wolfgang Amadews Mozart : 1756-1791)와 하이든 (Frans J. Haydn : 1732 - 1809)에 의해서 완성된 고전주의 음악의 전통위에 소나타 형식이 가지는 표현의 가능성을 최대한으로 탐구 하였으며 베토벤의 中期이후에는 낭만주의 정신을 도입시켜 다양한 발전의 기틀을 이루어 놓았다. 베토벤의 감정표현이 제일 자유로웠던 중기에 속하는 피아노 소나타 Op. 57을 중심으로 그의 독창적인 음악양식을 살펴봄으로서 베토벤의 위대한 예술성에 더욱 접근 하고자 한다.;Ludwing van Beethoven was the greatest German musician who had played an important role of the connection between the last stage of classic music and the early of romantic music. In Germany, then, a new movement of insisting on the personal freedom and creating equality, by Hegel's ideal metaphor which had been based on the spirit of personal subjectivity and French Revolution originated from the inward world of man, had started to penetrate even into the field of arts. Thus, from the order and balance of classic ideal and control of emotion, free exposure of emotion had gradually created a new tradition of romanticism in search of an arranged form and abstract beauty. L. Beethoven had tried to change a tradition of classic music completed by Mozart and Haydn into Sonata Form. He had introduced the spirit of romanticism to it ever since the middle period of his age. My intentions were to seek out the depthe of Op. 57 composed during his middle period and expressed by his emotion most freely and perfectly. Introduction I touch, in this paper, Op. 57 in connexien with the historical background of classic music and perfrct composition of his Sonata. Main Subject I. About his learning in boyhood, character, supporters, and ear-disease through his life II. About his musical works and techniques in the history of modern music III. About divisirn of 32 Piano Sonata and central features of his masterpieces a. Early Op. 2-1 b. Middle Op. 57 c. Last Op. III IV. Analysis of his Sonata OP. 57 About his Sonata Op. 57, Harmony Rhythm Tonality Variations Here, in arrangement, I attempted to approach to artistic value of composition on the basis of Piano Sonata Op. 57 consisted of his creative style of compositirn.
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