Since the free form was pursued and subjective feeling of composer was regarded as important and various tones and dynamic were able to be expressed by Piano due to development of Piano in 19th century romantic music, Frederick Francois Chopin(1810-1849) who was a representative composer in 19th rom...
Since the free form was pursued and subjective feeling of composer was regarded as important and various tones and dynamic were able to be expressed by Piano due to development of Piano in 19th century romantic music, Frederick Francois Chopin(1810-1849) who was a representative composer in 19th romantic period composed beautiful and attractive Piano music a lot. Tempo Rubato, which is one of the most important techniques in Chopin’s Piano music, is a technique that takes and lengthens the tempo; it is used a lot as a method for effective expression of emotion, but as the music is subjectively played owing to its property, it is often interpreted differently as per player. Because correct Chopin’s Rubato performance is in close contacts with overall mood and property of the music as well as regulation of speed, thorough analysis and accurate interpretation are greatly important. According to this necessity, this study aims to suggest the correct and effective technique of Tempo Rubato by analyzing 「Piano Sonata No.3 in b minor, Op.58」 which is being played a lot as the piece composed in Chopin’s the most ripening stage among his three Piano Sonata. As the contents and method of the research, first, the background and property of romantic music were examined, and the property of Chopin’s Piano music and Chopin’s three Piano Sonata were contemplated through reference. And After the property of Chopin’s Piano music was classified and analyzed through preceding research analysis, the concept and background were investigated with Tempo Rubato as the center, and the forms which Tempo Rubato showed itself in Chopin’s Piano music were extracted. Based on music forms which should be played with Tempo Rubato extracted through reference research and analysis, the technique to which Tempo Rubato was applied was suggested by analyzing and interpreting Chopin’s 「Piano Sonata No.3 in b minor, Op.58」. The cases to which Tempo Rubato was applied were able to be sorted through reference research. First, as the case that dynamic influences, it is the case that the effect of tension and relaxation show themselves by crescendo and diminuendo. Second, as the case that phrasing influences, partial agogik wave is caused by repeating basic motive of passage or section briefly. Also it works in Chopin’s music whose property is a beautiful melody that classification of phrasing reveals itself by using Rubato between phrases. Third, as the case that the balance is maintained by natural pushing and pulling of melody and accompaniment through rhythm’s friction at the rate of 2:3 or 3:4 of both hands, this is applied to a long grace that is specific to Chopin. Fourth, in case that the syncopation or position of accent by change of rhythm influences, specific notes are emphasized by the elements of Rubato. Fifth, Rubato is applied in the form of Recitative or Cadenza. Sixth, based on Garcia’s description of ‘the appoggiatura or chord have to apply Rubato in the important part’, the meaning of ‘lean’ which is a general nature of appoggiatura is applied to Rubato; it causes flexible connection. Based on the cases above, as the results of examining cases that Tempo Rubato was applied in「Piano Sonata No.3 in b minor, Op.58」, there were many parts that it was mostly used owing to dynamic and phrasing’s influence, and in case that rhythm of both hands produces friction or its mix does not fit, Rubato was played by natural pushing and pulling. Also structural Rubato that rhythm of both hands generally lengthened was more often played than melodic Rubato that free rhythm of right hand was played with left hand fixed.
Since the free form was pursued and subjective feeling of composer was regarded as important and various tones and dynamic were able to be expressed by Piano due to development of Piano in 19th century romantic music, Frederick Francois Chopin(1810-1849) who was a representative composer in 19th romantic period composed beautiful and attractive Piano music a lot. Tempo Rubato, which is one of the most important techniques in Chopin’s Piano music, is a technique that takes and lengthens the tempo; it is used a lot as a method for effective expression of emotion, but as the music is subjectively played owing to its property, it is often interpreted differently as per player. Because correct Chopin’s Rubato performance is in close contacts with overall mood and property of the music as well as regulation of speed, thorough analysis and accurate interpretation are greatly important. According to this necessity, this study aims to suggest the correct and effective technique of Tempo Rubato by analyzing 「Piano Sonata No.3 in b minor, Op.58」 which is being played a lot as the piece composed in Chopin’s the most ripening stage among his three Piano Sonata. As the contents and method of the research, first, the background and property of romantic music were examined, and the property of Chopin’s Piano music and Chopin’s three Piano Sonata were contemplated through reference. And After the property of Chopin’s Piano music was classified and analyzed through preceding research analysis, the concept and background were investigated with Tempo Rubato as the center, and the forms which Tempo Rubato showed itself in Chopin’s Piano music were extracted. Based on music forms which should be played with Tempo Rubato extracted through reference research and analysis, the technique to which Tempo Rubato was applied was suggested by analyzing and interpreting Chopin’s 「Piano Sonata No.3 in b minor, Op.58」. The cases to which Tempo Rubato was applied were able to be sorted through reference research. First, as the case that dynamic influences, it is the case that the effect of tension and relaxation show themselves by crescendo and diminuendo. Second, as the case that phrasing influences, partial agogik wave is caused by repeating basic motive of passage or section briefly. Also it works in Chopin’s music whose property is a beautiful melody that classification of phrasing reveals itself by using Rubato between phrases. Third, as the case that the balance is maintained by natural pushing and pulling of melody and accompaniment through rhythm’s friction at the rate of 2:3 or 3:4 of both hands, this is applied to a long grace that is specific to Chopin. Fourth, in case that the syncopation or position of accent by change of rhythm influences, specific notes are emphasized by the elements of Rubato. Fifth, Rubato is applied in the form of Recitative or Cadenza. Sixth, based on Garcia’s description of ‘the appoggiatura or chord have to apply Rubato in the important part’, the meaning of ‘lean’ which is a general nature of appoggiatura is applied to Rubato; it causes flexible connection. Based on the cases above, as the results of examining cases that Tempo Rubato was applied in「Piano Sonata No.3 in b minor, Op.58」, there were many parts that it was mostly used owing to dynamic and phrasing’s influence, and in case that rhythm of both hands produces friction or its mix does not fit, Rubato was played by natural pushing and pulling. Also structural Rubato that rhythm of both hands generally lengthened was more often played than melodic Rubato that free rhythm of right hand was played with left hand fixed.
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