Johanness Brahms의 Sonata no.3 op.108 for Violin and Piano 및 Bela Bartok의 Rhapsody no.1 for Violin and Piano에 대한 소고

Abstract

본 논문은 석사과정이수를 위한 졸업연주회에서 연주하였던 작품들 중에서 Johannes Brahams의 Sonata No.3 op.108 for Violin and Piano와 Bela Bartok의 Rhapsody No.1 for Violin and Piano를 분석, 연구한 것이며 그 결과는 다음과 같다. J. Brahms의 Sonata No.3 op.108 for Violin and Piano는 4악장으로 구성되었는데, 전통적 구조인 Sonata Allegro형식-3부형식-3부형식-Rondo Sonata형식이며 제1악장에서의 주요동기가 전 악장에 걸쳐 축소, 확대, 변형되어 나타나는 순환기법이 사용되었고, 감 7화음과 장 7화음, 당김음과 Hemiola리듬, 반음계적 선을 진행, 모방과 전위에 의한 대위법적인 기법 등이 특히 잘 나타나 있다. B. Barto´k의 Rhapsody No.1 for Violin and Piano는 두 개의 Part를 갖는 민요적 색채가 적은 곡으로, 연속적인 당김음을 비롯한 여러 형태의 민속리듬과 Lydian, Dorian등의 다양한 선법, 2도, 4도, 6도의 부가화음, 증장7화음, 4도 병진행 및 모방 기법 등의 사용으로 Barto´k의 독특한 특징이 보여지며 연주기법에 있어서는 Pizzicato Harmonics가 자주 사용된다.;The purpose of this thesis is to analyze the Third Sonata for Violin and Piano of Johanness Brahms and the First Rhapsody for Violin and Piano of Be´la Barto´k. The lifes of J. Brahms and B. Barto´k on which their works were based were also examined. The results of analysis are as follow: The Third Sonata for Violin and Piano of Brahms is composed of 4 movements. The first movement is in sonata allegro form, the second is in ternary form, the third is in ternary form and the fourth is in Rondo Sonata form. These movement are related to cycle motives and rhythms. As for the feature of music, the third sonata for Violin and piano of Brahms is progressed with the imitative counterpoint, use of Pedal Point, chord of 7th, Hemiola and syncopation rhythm. The first Rhapsody for Violin and Piano is composed of 2 parts by the folk music scales. As for the feature of music, it is progressed with 2nd, 4th, 6th chord, use of syncopation and folk rhythm, modal scale like as Lydian and Dorian, Augmented-Major 7th chord, parallel fourth progression and imitation.