본 논문은 스크리아빈이 1892년부터 1897년까지 5년이란 오랜 기간 동안에 자신만의 새로운 작곡 기법을 표현하고자 작곡한 피아노 소나타 제 2번「Fantasy」에 관한 분석 연구이다. 알렉산더 스크리아빈(Alexander Scriabin, 1872-1915)은 19세기에서 20세기로의 전환기에 활동한 러시아 태생의 작곡가이자 피아니스트로서 피아노 작품에 비중을 많이 두어 작곡하였고 그의 10개의 피아노 소나타들은 그의 음악이 변화되어지는 과정이 잘 나타나 있다. 그의 초기 작품에는 19세기말의 음악적 요소와 함께 전통적인 형식...
본 논문은 스크리아빈이 1892년부터 1897년까지 5년이란 오랜 기간 동안에 자신만의 새로운 작곡 기법을 표현하고자 작곡한 피아노 소나타 제 2번「Fantasy」에 관한 분석 연구이다. 알렉산더 스크리아빈(Alexander Scriabin, 1872-1915)은 19세기에서 20세기로의 전환기에 활동한 러시아 태생의 작곡가이자 피아니스트로서 피아노 작품에 비중을 많이 두어 작곡하였고 그의 10개의 피아노 소나타들은 그의 음악이 변화되어지는 과정이 잘 나타나 있다. 그의 초기 작품에는 19세기말의 음악적 요소와 함께 전통적인 형식과 조성이 파괴되어지는 모습을 볼 수 있다. 특히 피아노 소나타 제2번 작품에서 그러한 특징들이 나타나기 시작하는데 그는 이 곡을 통해 후기 낭만적인 요소 외에 형식을 통일시키려는 모습과 전통적인 화성의 해결을 피하며 많은 변화화음의 연속적인 사용을 통해 조성을 모호하게 하려고 하고 리듬의 다양함 등을 나타내려고 하였다. 이러한 특징들이 그의 중기와 후기 음악에 영향을 끼치고 있음을 알 수 있고, 이 사실이 이 곡이 갖는 큰 의미이다. 본 논문에서는 그의 작품에 대한 전반적인 이해를 위해 그의 생애와 작품 경향을 살펴보고, 피아노 소나타 제2번의 분석을 통해 후기 낭만주의적 요소와 조성의 붕괴, 형식과 리듬의 복잡성, 그리고 앞으로 신비주의적 음악의 밑바탕이 되는 요소들이 어떻게 나타나는지에 대해 논하였다.
본 논문은 스크리아빈이 1892년부터 1897년까지 5년이란 오랜 기간 동안에 자신만의 새로운 작곡 기법을 표현하고자 작곡한 피아노 소나타 제 2번「Fantasy」에 관한 분석 연구이다. 알렉산더 스크리아빈(Alexander Scriabin, 1872-1915)은 19세기에서 20세기로의 전환기에 활동한 러시아 태생의 작곡가이자 피아니스트로서 피아노 작품에 비중을 많이 두어 작곡하였고 그의 10개의 피아노 소나타들은 그의 음악이 변화되어지는 과정이 잘 나타나 있다. 그의 초기 작품에는 19세기말의 음악적 요소와 함께 전통적인 형식과 조성이 파괴되어지는 모습을 볼 수 있다. 특히 피아노 소나타 제2번 작품에서 그러한 특징들이 나타나기 시작하는데 그는 이 곡을 통해 후기 낭만적인 요소 외에 형식을 통일시키려는 모습과 전통적인 화성의 해결을 피하며 많은 변화화음의 연속적인 사용을 통해 조성을 모호하게 하려고 하고 리듬의 다양함 등을 나타내려고 하였다. 이러한 특징들이 그의 중기와 후기 음악에 영향을 끼치고 있음을 알 수 있고, 이 사실이 이 곡이 갖는 큰 의미이다. 본 논문에서는 그의 작품에 대한 전반적인 이해를 위해 그의 생애와 작품 경향을 살펴보고, 피아노 소나타 제2번의 분석을 통해 후기 낭만주의적 요소와 조성의 붕괴, 형식과 리듬의 복잡성, 그리고 앞으로 신비주의적 음악의 밑바탕이 되는 요소들이 어떻게 나타나는지에 대해 논하였다.
Scriabin was an influential composer in the first half of the twentieth century. He led the trend of music of his times from traditional tonal to atonal music. Particularly, Scriabin employed "Mysticism" in his later works, his unique composition style of using harmonic material. In order to underst...
Scriabin was an influential composer in the first half of the twentieth century. He led the trend of music of his times from traditional tonal to atonal music. Particularly, Scriabin employed "Mysticism" in his later works, his unique composition style of using harmonic material. In order to understand the unique features of Scriabin's later works, it is crucial to understand the transition process of his works from his early music first. His early works had some resemblance to Chopin's style and mostly abided by the basic rules of major/minor. Scriabin, nevertheless, tried to show his own personality in his early works not just by following in Late Romanticism's footsteps. The purpose of this study was to search out traces of Scriabin's individuality in his early music in which Late Romanticism prevailed and to analyze Piano Sonata No. 2 in particular in that it was this piece that was beginning to bear his own musical language. Piano Sonata No. 2, which took a long time to be completed, has transitional elements in its tonality, rhythm, and harmony. Through looking into this piece, it is conceived that this work cannot be simply categorized into Scriabin's early music since it is already undergoing changes for transition. In other words, Piano Sonata No.2 maintains lyrical melodic contour and an arpeggionic form of accompaniment. The arpeggio lines in accompaniment are divided in rhythmic variations to give more expressions. Imitative counterpoint is applied in the theme melodic lines to show their prominence. Use of cross bar adds the ambiguity of beat to this music. In terms of tonality, emphasizing the relations of circle of fifth and thirds, and diverse use of harmony lead to many different forms of modulation, especially enharmony which also gives extra vagueness to its tonality. In terms of harmony, it is easy to find unconventional features. Although functional harmony is in place, the emphasis on I-V is weak which means functional harmony is not used in resolving phrases, instead translocation is more frequently used. In addition, the application of continual altered chords enriches the harmony of this music. On the basis of such altered chords, Piano Sonata No. 2 had an impact on acoustic effects of Mysticism which appeared in Late Romantic period and showed Scriabin's unique individuality. Under the influence of Late Romanticism, Scriabin while in conservatory embarked on a career as composer to pursue his own style of music and indeed he successfully established his style of music, going through transitions for a relatively short period of his life. Although he failed to create any influential trend of music and to cultivate followers, it is certain that his musical language that used atonality based upon Mysticism and the use of comprehensive forms of art exerted influence on the 20th century composers.
Scriabin was an influential composer in the first half of the twentieth century. He led the trend of music of his times from traditional tonal to atonal music. Particularly, Scriabin employed "Mysticism" in his later works, his unique composition style of using harmonic material. In order to understand the unique features of Scriabin's later works, it is crucial to understand the transition process of his works from his early music first. His early works had some resemblance to Chopin's style and mostly abided by the basic rules of major/minor. Scriabin, nevertheless, tried to show his own personality in his early works not just by following in Late Romanticism's footsteps. The purpose of this study was to search out traces of Scriabin's individuality in his early music in which Late Romanticism prevailed and to analyze Piano Sonata No. 2 in particular in that it was this piece that was beginning to bear his own musical language. Piano Sonata No. 2, which took a long time to be completed, has transitional elements in its tonality, rhythm, and harmony. Through looking into this piece, it is conceived that this work cannot be simply categorized into Scriabin's early music since it is already undergoing changes for transition. In other words, Piano Sonata No.2 maintains lyrical melodic contour and an arpeggionic form of accompaniment. The arpeggio lines in accompaniment are divided in rhythmic variations to give more expressions. Imitative counterpoint is applied in the theme melodic lines to show their prominence. Use of cross bar adds the ambiguity of beat to this music. In terms of tonality, emphasizing the relations of circle of fifth and thirds, and diverse use of harmony lead to many different forms of modulation, especially enharmony which also gives extra vagueness to its tonality. In terms of harmony, it is easy to find unconventional features. Although functional harmony is in place, the emphasis on I-V is weak which means functional harmony is not used in resolving phrases, instead translocation is more frequently used. In addition, the application of continual altered chords enriches the harmony of this music. On the basis of such altered chords, Piano Sonata No. 2 had an impact on acoustic effects of Mysticism which appeared in Late Romantic period and showed Scriabin's unique individuality. Under the influence of Late Romanticism, Scriabin while in conservatory embarked on a career as composer to pursue his own style of music and indeed he successfully established his style of music, going through transitions for a relatively short period of his life. Although he failed to create any influential trend of music and to cultivate followers, it is certain that his musical language that used atonality based upon Mysticism and the use of comprehensive forms of art exerted influence on the 20th century composers.
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