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SERGEI PROKOFIEV의 Sonata No.2 in D Major, Opus 94bis for Violin and Piano에 관한 분석 연구

Title
SERGEI PROKOFIEV의 Sonata No.2 in D Major, Opus 94bis for Violin and Piano에 관한 분석 연구
Other Titles
A Study on SERGEI PROKOFIEV Sonata No.2 in D Major, Opus 94bis for Violin and Piano
Authors
황별
Issue Date
2014
Department/Major
대학원 음악학부
Publisher
이화여자대학교 대학원
Degree
Master
Advisors
최한원
Abstract
본 논문은 SERGEI PROKOFIEV의 ≪Sonata No.2 in D Major, Opus 94bis for Violin and Piano≫를 분석한 것이다. 세르게이 프로코피에프(Sergei Prokofiev, 1891~1953)는 20세기 전반에 활동하였으며 19세기 후반의 차이코프스키와 더불어 러시아 5인조를 계승하는 러시아 작곡가이자 피아니스트이다. 그는 사회주의 리얼리즘의 영향으로 인해 민요를 사용하도록 강요받았던 시기에 활동했음에도 불구하고, 자발적으로 민요 선율을 사용하지 않았다는 면에서 러시아적인 작곡가인가에 대해 논란이 되고 있다. 혹자는 이것이 사회주의 리얼리즘을 받아들인 작곡가들과 자신을 구별 짓기 위해 소련으로 귀국 후 러시아의 전통적인 음악적 특징을 자신의 어법으로 만들지 않았기 때문이라고 추측하고 있다. 그럼에도 불구하고 현재에는, 20세기 음악에서 혁신적이고 독창적인 음악어법을 중요시하던 대표적인 러시아 작곡가 중 한 사람으로 알려지고 있다. 그의 대부분의 작품들은, 고난이도의 세련된 기법과 뚜렷한 주제를 선율로 표현하며 알기 쉬운 음악어법으로 작곡되었다. 본 논문은 프로코피에프의 ≪바이올린 소나타 제 2번≫을 분석함에 있어 먼저 프로코피에프의 생애와 음악적 특징 및 음악어법에 대해 연구한 후, 악장과 마디별로 이 곡을 중점적으로 분석함으로서 그의 독창적인 표현과 이 곡에 대한 이해를 높이고자 한다. 또한 작곡가의 의도를 더욱 정확하게 이해하여 바이올린 전공자들이 본 작품을 연주하는데 있어서 도움이 되었으면 한다.;This paper relates to the Violin Sonata No. 2 of Sergei Prokofiev. Prokofiev's Violin Sonata No. 2 is a work that was written in the classical Sonata form by the language of Prokofiev. One can find the strong features such as a simple motif and the musical form of neoclassicism in this piece. It consists of four movements; Moderato of the Sonata form, playful scherzo, lyrical andante, and colorful rondo sonata. Each movement shows a variety of variances and developments based on the ABA Part 3. The composition of the movement was set to close the relationship within the 3rd and the 5th while the tempo and meter are well balanced with each other. An organic relationship was designed so that the four movements can become a unified piece through common composition methods and similar sounds. The first movement consists of 130 measures and follows the order and the tonal relationship of the classical Sonata form. In contrast with the first movement in typical Sonata music, which was a fast tempo, the first movement was composed with a somewhat slow tempo-Moderato with 4/4 meter. The second movement consists of 370 measures. This movement is characterized by the reversed order between the second and third movements which is in contrast with the second movement performing slow and lyrical music in the typical Sonata that consists of four movements. The first movement, which was a somewhat slower tempo than that of the first movement in the typical Sonata, was presented to show the effect between the movements while the second movement revealed a fast Scherzo of a folk song. The third movement is andante and consists of 94 measures. It is simple and short. Overall, the musical plot was simple and had fewer sounds so that it prepares the listeners for the last movement. The fourth movement consists of 174 measures. This movement is allegro con brio of rondo Sonata form, which is fast. It is characterized by a vibrant musical motif and rhythm expression of percussion instruments. It was originally composed for a flute Sonata but the composer changed it to a violin song thereby enabling a wider sound field and faster and glorious play. In addition, detailed expression via violin bow change, pizzicato, double-stops, and harmonics, which cannot be expressed by wind instruments, were added thus having richer expression and completeness. In the melody: harmony, modulation, humorous and delightful emotion of Prokofiev can be found. But above all, the composer focused on the important factors such as an interesting rhythm through various segmentations within the meter and leading the atmosphere of the music through various articulations flavored with simple motivation. It would be an effective method for players to reveal the changes in rhythms through a precise tempo without distractions and make changes endlessly by taking the musical motif which changes fast with short intervals into consideration in order to represent the rich expression intended by the composer.
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