(Abstract)* A Thesis submitted to the Council of the Graduate School of Kyungpook National University in partial fulfillment of the requirements for the degree of Master of Music in December, 2005. Beethoven has not only systemized but also transformed the classical sonata which was completed and su...
(Abstract)* A Thesis submitted to the Council of the Graduate School of Kyungpook National University in partial fulfillment of the requirements for the degree of Master of Music in December, 2005. Beethoven has not only systemized but also transformed the classical sonata which was completed and succeeded by Haydn and Mozart during his three musical period. In early sonata, he showed finding his own way on the extension of Haydn and Mozart's sonata form. And in middle sonata, he showed his own grammar through specific technique, revolution of pattern, and usage of title. In late sonata, he showed the extension of pattern, the counterpoint in texture, and the aspect of great piano song in relation to structure and sound. Beethoven was most stable and well expressed his own grammar in middle sonata, and the followings are summary of acquired knowledge through observation of Op. 31, No. 2 in main subject. In aspect of form and structure, the all three chapter contains sonata form but distinguishable as they use creative elements and are out of classical sonata. He displayed excellence as a composure in application of subject, and organized a united sonata pattern as use of ⓐ, ⓑ, ⓒ which are tools of subject through all chapters. In aspect of harmony, he used chromatic scale chord frequently, and led song to dramatic climax as use of various colorful harmony. In last, the texture was used reduction of vertical sound to horizontal sound, homophony, polyphony, monophony, and non-melodic texture. We can see the effort of Beethoven through Op. 31, No. 2 in addition to pursuing new formal principle and freedom to contain dramatic conflict in a united organic body without restriction within boundary of classical pattern. It will be great helpful and useful for players to play song as they understand and interpret the music well.
(Abstract)* A Thesis submitted to the Council of the Graduate School of Kyungpook National University in partial fulfillment of the requirements for the degree of Master of Music in December, 2005. Beethoven has not only systemized but also transformed the classical sonata which was completed and succeeded by Haydn and Mozart during his three musical period. In early sonata, he showed finding his own way on the extension of Haydn and Mozart's sonata form. And in middle sonata, he showed his own grammar through specific technique, revolution of pattern, and usage of title. In late sonata, he showed the extension of pattern, the counterpoint in texture, and the aspect of great piano song in relation to structure and sound. Beethoven was most stable and well expressed his own grammar in middle sonata, and the followings are summary of acquired knowledge through observation of Op. 31, No. 2 in main subject. In aspect of form and structure, the all three chapter contains sonata form but distinguishable as they use creative elements and are out of classical sonata. He displayed excellence as a composure in application of subject, and organized a united sonata pattern as use of ⓐ, ⓑ, ⓒ which are tools of subject through all chapters. In aspect of harmony, he used chromatic scale chord frequently, and led song to dramatic climax as use of various colorful harmony. In last, the texture was used reduction of vertical sound to horizontal sound, homophony, polyphony, monophony, and non-melodic texture. We can see the effort of Beethoven through Op. 31, No. 2 in addition to pursuing new formal principle and freedom to contain dramatic conflict in a united organic body without restriction within boundary of classical pattern. It will be great helpful and useful for players to play song as they understand and interpret the music well.
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#고전주의음악 Beethoven Piano Sonata 조성 형식 Op.31 No.2의작품배경
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