The purpose of this study was to have a look at the persent situation of Researah papers related to A. Scho¨nberg piano music, to compare and analyze the contents of each paper, and to integrate its contents systiematically. Researcher examined 21 related papers in all and analyzed according to work...
The purpose of this study was to have a look at the persent situation of Researah papers related to A. Scho¨nberg piano music, to compare and analyze the contents of each paper, and to integrate its contents systiematically. Researcher examined 21 related papers in all and analyzed according to works, periods, and colleges. As the result of analysis, according to works, op.25 was studied most, op.33a by one person for thesis, solo piano by only one and op.33b only presented tone arrangement in 20 Theses. Therefore, more studies were required. According to years, before 1980's there were only 4 theses, and after the 1980's 17 theses presented and studies on A. Scho¨nberg piano music got vital. According to colleges, Theses on it A. Scho¨nberg piano music were presented in 9 colleges-8 colleges in Seoul and one college in Taegu. Accordng to apparent analysis like this, study on op.33 and in local colleges are required. Above all in analysis and integration of contents. The musical characteristics of A. Scho¨nberg, was examined. A. Scho¨nberg's music used extreme chromatics and the Interval relations of 2. 3. 4. 7. degree were in progress vertically and horizontally, and the form of his sticking to Traditional pattern in classics and counterpoint technique. A. Schonberg's can be divided into 4 periods. The works of this study in the works of the second and the third period. The works of the second period, op.11 and op.19 are music of atonality expressionism. op.11 is partly colored by tonality, but owing to additional tone,the tonality continues to fade away, and its structure is multitonality and bitonality. Harmaony partly shows traditional harmony but 7 degree interval harmony is overwhelming. Some motive factors are progressing through continual reappearance and variation in the whole of music. op.19 is minimal form and the number of measures is 9 or 17. Hence, repetition is avoided and tones turn up punktuelle and Commas have new values. The works of the third period, op.23, op.25, op.33 are the music of twelve-note technique. op.23 is a transitional work of twelve-note technique, and shows the use 5 tone, 9 tone, 12 tone, the fifth note, and then for the first time, the first note is composed by twelve-note technique. Since then, full twelve-note technique is stablished in op.25, op.33. The twelve-note technique is a new technique, but takes classical form and counterpoint progress. The use of series shows its variety. Three groups, two groups, and the intervals of 2 degree, and 4 degree is still used essentially. Like above, the present research circumstance concerning theses related to A. scho¨nberg piano music was analyzed, and the contents of it was integrated analy tically and systematically. This study will be a reference material for new researcher, and follow-up study is expected.
The purpose of this study was to have a look at the persent situation of Researah papers related to A. Scho¨nberg piano music, to compare and analyze the contents of each paper, and to integrate its contents systiematically. Researcher examined 21 related papers in all and analyzed according to works, periods, and colleges. As the result of analysis, according to works, op.25 was studied most, op.33a by one person for thesis, solo piano by only one and op.33b only presented tone arrangement in 20 Theses. Therefore, more studies were required. According to years, before 1980's there were only 4 theses, and after the 1980's 17 theses presented and studies on A. Scho¨nberg piano music got vital. According to colleges, Theses on it A. Scho¨nberg piano music were presented in 9 colleges-8 colleges in Seoul and one college in Taegu. Accordng to apparent analysis like this, study on op.33 and in local colleges are required. Above all in analysis and integration of contents. The musical characteristics of A. Scho¨nberg, was examined. A. Scho¨nberg's music used extreme chromatics and the Interval relations of 2. 3. 4. 7. degree were in progress vertically and horizontally, and the form of his sticking to Traditional pattern in classics and counterpoint technique. A. Schonberg's can be divided into 4 periods. The works of this study in the works of the second and the third period. The works of the second period, op.11 and op.19 are music of atonality expressionism. op.11 is partly colored by tonality, but owing to additional tone,the tonality continues to fade away, and its structure is multitonality and bitonality. Harmaony partly shows traditional harmony but 7 degree interval harmony is overwhelming. Some motive factors are progressing through continual reappearance and variation in the whole of music. op.19 is minimal form and the number of measures is 9 or 17. Hence, repetition is avoided and tones turn up punktuelle and Commas have new values. The works of the third period, op.23, op.25, op.33 are the music of twelve-note technique. op.23 is a transitional work of twelve-note technique, and shows the use 5 tone, 9 tone, 12 tone, the fifth note, and then for the first time, the first note is composed by twelve-note technique. Since then, full twelve-note technique is stablished in op.25, op.33. The twelve-note technique is a new technique, but takes classical form and counterpoint progress. The use of series shows its variety. Three groups, two groups, and the intervals of 2 degree, and 4 degree is still used essentially. Like above, the present research circumstance concerning theses related to A. scho¨nberg piano music was analyzed, and the contents of it was integrated analy tically and systematically. This study will be a reference material for new researcher, and follow-up study is expected.
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#쇤베르크 피아노 Scho¨nberg
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