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L. V. Beethoven의 violin sonata No.5 Op.24 in F Major의 분석 및 고찰

L. V. Beethoven의 violin sonata No.5 Op.24 in F Major의 분석 및 고찰
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대학원 음악학과
이화여자대학교 대학원
본 논문은 석사과정 이수를 위한 졸업 연주회 작품 중에서 Ludwingvan Beethoven 의 Violin Sonata in F Major Op.24 를 분석, 고찰하는 것을 목적으로 한다. Beethoven은 10곡의 바이올린 소나타를 작곡했다. 그 중에서 제9번「Kreutzer」와 더불어 유명한 것이 제15번 소나타이다. 이 곡은 「Spring」Sonata라고 불려지기도 하는데, 이는 그의 다른작품에 비해 이 소나타가 밝고 행복감에 넘쳐있다는 뜻으로 후세에 붙여진 이름이다. 이 곡은 구성에 있어서 3악장에서 스케르쪼를 갖는 4악장으로 확대되었으며, 자유분방하고 낭만적 경향이 두드러진다. 본 논문은 먼저 서론에서 연구의 목적을 밝히고, 본론에서는Beethoven 의 Violin Sonata Op.24 를 각 악장별 구성, 짜임새, 화성, 형식등을 연구하고자 한다. ; Ludwing van Beethoven composed ten violin sonatas. Among his works, the Sonata No.5 was called the Spring Sonata later because this work is brighter and overflows with happiness more than any of his other works. This sonata, which was composed in 1801, belongs to the fist period of his creative activities. In the method of composition, this sonata escalates from the third movement to the fourth and shows press and romantic tendencies. In this dissertation, I analyzed Beethoven s violin sonata No.5 from the viewpoint of its theme, tonality, harmony, and structure as related to each movement. The results can be summarized as follows ; 1. The first movement is in the form of a sonata. The violin begins first theme of exposition with bright, elegant, and simple tones. As it develops, it exposes the first theme as the central figure. The coda starts as the first motive of the developing part. 2. The second movement is divided into three parts. In the first part, motive a of the first movement is used with transformation. In the second part, we feel it as a intermezzo because it is short. In the third part, it develops into the coloraturic factor and thus enlarges the them of the first part. In the coda, the first motive of the first movement is used as a fragmentary factor. 3. The third movement is simple, comparatively short and a compound ternary form. In harmony, a sudden modulation of the second part which is connected to the end of the first part very effectively gives us a felling of surprise. In trio, the scalic phrase of rise and fall shows simplicity, but its effect to scherzo is tenacity. 4. The fourth movement is the Rondo form of ABCAB A" Coda. The first theme is similar to the figure a of the first movement. The second theme is composed peculiarly major-minor with the same tone in tonality conxrast to the first theme. In the third theme, the obligatocal figure of triplet in the violin part to the piano part is often used alternatively between piano and violin. This gives a vivid expression throughout this movement and lifts the coda up to the climax In conclusion, this sonata lays stress on the first and the fourth movements. the first motive of exposition in the first movement is used in all of the movements except the third. This shows consistency and is a characteristically special feature. And the usage of contrast of sudden stress and sforrando, which is and important element to show the voluntary and strong impression on Beethoven s works.
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