The Op. 7 is the broadest and richest in expression among sonatas of the 1st period, shows a prototype and a mature aspect of sonatas, presents well musical features of Beethoven's, and realizes his gifted talent as a perfectly completed work to the minutest part. This thesis aims at more deeper und...
The Op. 7 is the broadest and richest in expression among sonatas of the 1st period, shows a prototype and a mature aspect of sonatas, presents well musical features of Beethoven's, and realizes his gifted talent as a perfectly completed work to the minutest part. This thesis aims at more deeper understanding of parts, by playing the piano, which people don't notice. As a result of analyzing Beethoven's piano sonata Op. 7, the following conclusions are drawn. Firstly, this consists of four movements in form, unlike classical sonatas which has 3 movements and it extends its scale and form in conformity with a title, compared with previous works. The 1st movement is a typical sonata with a allegro one. The 2nd movement, an aria, consists of complex three sections which are A, B and A' and are well balanced. The 3rd movement consists of complex three sections and it has simple phrases and passages with a well composed form. The final movement is a sonata with a rondo and it has a bold and fine form to avoid dullness in the development and repetition. Secondly, its melody develops tunes with melodic sequence and repeat sequence and makes much use of harmonic sequence and grace notes. Regarding main rhythms in each movement, thirdly, it gives an impression of nine-eights and twelve-eights time using Sfz.(sforzando) and shows various forms of rhythms like a polyrhythm employing different rhythms on each part of voices. Fourthly, it is handled with the tonic 3rd chord in a main harmony. As altered chords, It. 6, Gr. 6, Fer. 6 and a subtracted 7th chord appear and they also appear with fortissimos and Sfz. on parts of emphasis. As non-chords, escape-tones, appoggiaturas and frequent pedal-point are used and variety of chords are shown by virtue of proceeding chromatic chords. A transition part has a diatonic-modulation in according to a classical form, E♭major in 2nd movement has the 3rd chord relative modulation, and minor in 3rd movement also has the same modulation. In this way, we can notice Beethoven's firm organizing ability of music in that the whole sonata shows a unified structure by virtue of a repeated/developed motive in a complete from and presents various expressions, which vary in a range. It can be also indicated that Beethoven unfolded his own world about tones although affected by Mozart and Haydn.
The Op. 7 is the broadest and richest in expression among sonatas of the 1st period, shows a prototype and a mature aspect of sonatas, presents well musical features of Beethoven's, and realizes his gifted talent as a perfectly completed work to the minutest part. This thesis aims at more deeper understanding of parts, by playing the piano, which people don't notice. As a result of analyzing Beethoven's piano sonata Op. 7, the following conclusions are drawn. Firstly, this consists of four movements in form, unlike classical sonatas which has 3 movements and it extends its scale and form in conformity with a title, compared with previous works. The 1st movement is a typical sonata with a allegro one. The 2nd movement, an aria, consists of complex three sections which are A, B and A' and are well balanced. The 3rd movement consists of complex three sections and it has simple phrases and passages with a well composed form. The final movement is a sonata with a rondo and it has a bold and fine form to avoid dullness in the development and repetition. Secondly, its melody develops tunes with melodic sequence and repeat sequence and makes much use of harmonic sequence and grace notes. Regarding main rhythms in each movement, thirdly, it gives an impression of nine-eights and twelve-eights time using Sfz.(sforzando) and shows various forms of rhythms like a polyrhythm employing different rhythms on each part of voices. Fourthly, it is handled with the tonic 3rd chord in a main harmony. As altered chords, It. 6, Gr. 6, Fer. 6 and a subtracted 7th chord appear and they also appear with fortissimos and Sfz. on parts of emphasis. As non-chords, escape-tones, appoggiaturas and frequent pedal-point are used and variety of chords are shown by virtue of proceeding chromatic chords. A transition part has a diatonic-modulation in according to a classical form, E♭major in 2nd movement has the 3rd chord relative modulation, and minor in 3rd movement also has the same modulation. In this way, we can notice Beethoven's firm organizing ability of music in that the whole sonata shows a unified structure by virtue of a repeated/developed motive in a complete from and presents various expressions, which vary in a range. It can be also indicated that Beethoven unfolded his own world about tones although affected by Mozart and Haydn.
주제어
#L. v. Beethoven Piano Sonata Op.7 음악학
※ AI-Helper는 부적절한 답변을 할 수 있습니다.