View : 39 Download: 0

L. v. Beethoven Violin Sonata No.7 in c minor, op.30-2에 관한 연구 분석

Title
L. v. Beethoven Violin Sonata No.7 in c minor, op.30-2에 관한 연구 분석
Other Titles
A study on the analysis of L. v. Beethoven's Violin Sonata No.7 in c minor op.30-2
Authors
박수영
Issue Date
2015
Department/Major
대학원 음악학부
Publisher
이화여자대학교 대학원
Degree
Master
Advisors
송재광
Abstract
L. v. Beethoven's Violin Sonata Op.30-2 is discussed and analyzed to help with understanding of Beethoven's music. Comparably with the other genres of Beethoven`s works, Beethoven`s violin sonatas, especially No.7, shows Beethoven`s experimental complexities including the forms, harmonic contexts, melodic contour lines. Beethoven used his musical ideas freely with the harmonic and key progressions of his own musical ideas, in another meaning, the sound choices in his composition were carefully organized within the framework of the sonata form. For instance, variety ways in motif progressions, canon techniques, syncopations, hemiolas, strettos, and active rhythms were the main musical materials of Beethoven`s violin Sonata No.7. Specially, one of the biggest Beethoven`s musical points in the piece is the dynamic contrast, with the use of direction going from thef (forte) into subito piano. Also, using the rhythmic sense of alternating tensions between strong and weak beats make possible to feel Beethoven`s grandeur. The first movement is in a typical classical sonata form with exposition, development, recapitulation, and the coda. The first theme and the second theme are repeated twice in the exposition, and then the theme in the development section was modified based on the main theme from the exposition. Following after, Beethoven put a long coda which expands the length of the entire sonata from in big four parts. The second movement is in progress on the basis of very beautiful lyrical and melodic themes, with the typical three-part form coda. This movement starts with the key of A♭Major. It`s interesting that Beethoven took advantage of use of Mediant scales instead using classical expectation of using circle of fifth which makes the movement compelling in the sense of Beethoven`s musical ideas. Moreover, it`s a unique point that the violin and the piano`s imitating subjects take place throughout the movement in the purpose of avoiding the simplicity. In the third movement, Beethoven placed the complex three-part format of ABA form. Beethoven also avoided classical expectation of using Minuet in the third movement; instead, he set this movement, ‘Scherzo’. Within the context of the movement, rhythmic materials progress in the sense of three beats which makes the movement feel vibrant, and active. Also, use of frequent Sfzs gives effective attentions. In the key of bright feeling of C Major, this movement goes along with the piano`s thematic materials and the violin melodies follow after. The fourth movement is in the rondo form, but also non-typically it`s in sonata rondo form. The subject line has two different materials which gave change to the musically flavorful contour lines instead of using simple repetitions. Furthermore, the coda in the movement gives a big contrast; it begins with the slow tempo progressions, the there is a sudden appearance of the presto. Studying about Beethoven`s violin sonata no.7 gave a great opportunity to understand better about Beethoven`s violin sonatas. To the ones who study this work, hopefully this helps.;베토벤(Ludwig van Beethoven, 1770-1827)은 하이든(Franz Joseph Haydn, 1732-1890), 모차르트(Wolfgang Amadeus Mozart, 1756-1791)와 함께 빈 고전파를 대표하는 독일의 작곡가이다. 베토벤은 고전시대의 음악형식을 완성하고 그 후에 등장한 낭만주의의 문을 활짝 연 클래식 음악 사상 가장 위대한 작곡가이다. 그 당시 상대적으로 뒤쳐져 있었던 기악음악을 상당한 수준으로 끌어 올린 것에 주목할 필요가 있다. 베토벤은 총 10개의 바이올린 소나타를 작곡을 하였는데, 그의 음악적 특징은 총 3개의 시기로 구분을 할 수 있다. 바이올린 소나타 Op.12는 1~3번, Op.23은 4번, Op.24는 5번, Op.30은 6~8번, Op.47은 9번, Op.96은 10번으로 구성되어 있다. 이 중에서 본 논문의 곡인 Violin Sonata No.7은 Op.30의 세 개의 곡 중 두 번째 곡이다. 32세 때의 작품이며 알렉산더 1세에게 바쳐 ‘알렉산더 소나타’라고 불리운다. Op.30에 속한 소나타 중 가장 극적인 부분이 많은 곡이다. 독특한 화성처리, 어두우면서도 엄격하고, 형식적인 대담함과 기법들이 잘 정돈되어 중기시대로 향해가는 과도기적 작품이다. Violin Sonata No.7은 10개의 바이올린 소나타 중 길이면에서도 길고, c minor라는 조성을 채택한 작품이며, 베토벤 중기 시대의 음악적인 특징을 이해하는데 큰 도움이 된다는 점에서 연구의 가치가 있다. 또한, 대학원 석사 이수를 위한 졸업 리사이틀 곡 중 하나인 Violin Sonata No.7을 심도 있게 분석함으로써 베토벤의 작품을 이해하고 실제 연주를 하는데 있어서 올바른 곡 해석과 이해, 음악적 표현에 도움을 얻고자 이 연구를 하고자 한다.
Fulltext
Show the fulltext
Appears in Collections:
일반대학원 > 음악학부 > Theses_Master
Files in This Item:
There are no files associated with this item.
Export
RIS (EndNote)
XLS (Excel)
XML


qrcode

Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.

BROWSE