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Ludwig van Beethoven Violin Sonata No. 5 in F Major, Op. 24에 대한 분석연구

Ludwig van Beethoven Violin Sonata No. 5 in F Major, Op. 24에 대한 분석연구
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A Study on Ludwig van Beethoven’s Violin Sonata No. 5 in F Major, Op. 24
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대학원 음악학부
이화여자대학교 대학원
베토벤(Ludwig van Beethoven, 1770-1827)은 고전주의 대표적 작곡가이며 다양한 협주곡과 실내악곡을 작곡했다. 그는 총 10곡의 바이올린 소나타를 작곡하였고 바이올린의 선율을 독창적으로 다루고 있으며, 각 곡 모두 견고한 구조를 지닌다. 10곡 각각 다양한 개성을 지녔는데 그 중 1801년에 작곡한 바이올린 소나타 제 5번(violin sonata no. 5 op. 24)은 볼프강 아마데우스 모차르트(Wolfgang Amadeus Mozart, 1756-1791)의 영향이 짙게 나타난 초기의 소나타들과 달리 프란츠 요제프 하이든(Franz Joseph Haydn, 1732-1809)이나 모차르트의 영향에서 벗어나 개성적인 구조와 선율을 가지며 자유분방한 론도로 마무리 된다. 이 작품은 총 4악장으로 구성되어 있으며, 제 1악장은 빠른 악장으로 바이올린이 먼저 제시하는 아름다운 선율을 중심으로 전개된다. 제 2악장은 자유로운 변주곡으로 단순한 주제의 도입 뒤 피아노가 아름다운 서정적인 주제를 제시한다. 제 3악장은 세도막 형식으로 스케르초 주제는 먼저 경쾌하고 발랄한 피아노에 의해서 연주되고 바이올린이 그 뒤를 그대로 반복한다. 제 4악장은 7부분 형식의 론도로 구성되며 리프레인 주제가 여러 차례 색다른 리듬으로 새롭게 등장해 다채로운 느낌을 전해준다. 본 논문은 베토벤의 바이올린 소나타 제 5번에서 나타난 그의 작곡 성향과 구조적 특징, 조성을 분석함으로써 좀 더 깊이 있게 베토벤의 음악에 대해 고찰하려 한다.;This thesis is a study on Ludwig van Beethoven's Violin Sonata No. 5, in F Major, Op. 24. He, as one of the most famous and influential composers, bridging between the Classical era and the Romantic era in western art music, exploited his own musical way on basis of the traditional classical style of Haydn and Mozart. He has composed the various compositions including 9 symphonies, 32 concertos for piano, 16 string quartets, various chamber music and music for other instruments. Especially, 10 violin sonatas shown during the first period and the second period of his music present the good clues for studying not only his early musical style but his fresh and creative attempts. Beethoven’s Violin Sonata No. 5 in F Major, Op. 24, known as “Spring”, expresses the bright and vivid atmosphere. It is the first violin sonata that is composed of 4 movements among his pieces of violin sonatas. The first movement in 4/4 beats, F major and allegro shows the typical classic sonata form – exposition, development and recapitulation. Exposition has the first theme with F major and second theme with C major, the dominant key. Two themes are repeated twice in violin and piano parts. Development is formed with two sections – the first theme developed figure a of the first theme and the second theme developed various change of keys. Recapitulation repeats the full exposition in F major with Coda. The second movement is composed of slow three part form(ABA’). It is played with 3/4 beats, B flat major and Adagio molto espressivo. A part is B flat major and B part is also B flat major. Final A’ part starts with B flat major, but changes the key in various modes and ends with Coda in original key. In the third movement, short Scherzo – Trio is played in the key of F major with 3/4 beats and Allegro molto. Main theme of Scherzo is eight note rhythm with staccato in F major key. Trio, ascending and descending scales, starts with F major, but changes the key with B flat major. Finally, the fourth movement consists of seven-parts rondo in F major with 2/4 beats and Allegro ma non troppo. Refrain A uses figure a of the first theme of the first movement as the main figure and repeated for times in F major. Rondo has three episodes – B, C and B’. The first episode B is in c minor and episode C is in d minor mode. In this Beethoven violin sonta no.5 apart from the past and existing composers, Beethoven not limiting violin only to accompany to piano, permitted violin with the same role as piano does. In addition, Beethoven attempted to widen the structure of chamber music by composing 4 movements violin sonata for the first time.
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