본 논문은 그리그(Edvard Grieg, 1843-1907)의 《바이올린 소나타 2번 Op.13》 1악장에 대한 분석 연구를 내용으로 한다. 《바이올린 소나타 2번》은 그리그가 민족주의 작곡가로 명성을 얻었을 시기인 1867년에 작곡되었다. 이 곡은 ‘민족 소나타’로 불리는 만큼 노르웨이 민속요소의 특징이 잘 드러나 있다. 본 논문은 작품 분석을 통해 노르웨이 민속음악 요소를 찾아보는 것을 연구 목적으로 하였다.
《바이올린 소나타 2번》의 1악장은 소나타 형식이다. 구조는 서주와 제시부, 발전부, 재현부, 대종결구로 되...
본 논문은 그리그(Edvard Grieg, 1843-1907)의 《바이올린 소나타 2번 Op.13》 1악장에 대한 분석 연구를 내용으로 한다. 《바이올린 소나타 2번》은 그리그가 민족주의 작곡가로 명성을 얻었을 시기인 1867년에 작곡되었다. 이 곡은 ‘민족 소나타’로 불리는 만큼 노르웨이 민속요소의 특징이 잘 드러나 있다. 본 논문은 작품 분석을 통해 노르웨이 민속음악 요소를 찾아보는 것을 연구 목적으로 하였다.
《바이올린 소나타 2번》의 1악장은 소나타 형식이다. 구조는 서주와 제시부, 발전부, 재현부, 대종결구로 되어있다. 제 1악장 분석에서 확인된 노르웨이 민족 음악적 요소를 포함한 부분들을 정리하면 다음과 같다. 서주는 노르웨이 민속요소의 특징인 개방5도가 도입 반주에 드러난다. 또한 민속요소의 선율적 특징인 선율의 동형진행 및 반음계적 진행을 찾아볼 수 있다. 제시부의 1주제에는 셋잇단음표와 부점으로 이루어진 민속리듬의 주제선율이 등장한다. 이 주제선율의 일부분인 모티브a는 반복적으로 변형되어 악장 전체에 나타난다. 약박에 악센트가 있는 왼손은 노르웨이 민속춤곡 리듬을 연상시킨다. 1주제와 첫 번째 2주제의 조성 안에 포함된 선법적 선율은 노르웨이 민속요소의 선율적 특징이다. 두 번째 2주제는 전체적으로 부점 리듬이며 왼손에는 민속요소의 화성적 특징인 페달 포인트가 깔려 있다. 소종결구에 사용된 꾸밈음은 노르웨이 민속요소인 풍부한 장식음의 특징이다. 발전부와 재현부에서도 제시부에 나타난 노르웨이 민속요소를 찾아볼 수 있다.
전체적으로 《바이올린 소나타 2번》1악장에는 그리그의 민속주의적 요소인 선법적 음계의 사용, 반음계적 진행과 동형진행, 풍부한 장식음, 개방4도와 5도 사용, 페달 포인트, 민속춤곡 리듬, 부점의 리듬이 곳곳에 나타난다.
본 논문은 그리그(Edvard Grieg, 1843-1907)의 《바이올린 소나타 2번 Op.13》 1악장에 대한 분석 연구를 내용으로 한다. 《바이올린 소나타 2번》은 그리그가 민족주의 작곡가로 명성을 얻었을 시기인 1867년에 작곡되었다. 이 곡은 ‘민족 소나타’로 불리는 만큼 노르웨이 민속요소의 특징이 잘 드러나 있다. 본 논문은 작품 분석을 통해 노르웨이 민속음악 요소를 찾아보는 것을 연구 목적으로 하였다.
《바이올린 소나타 2번》의 1악장은 소나타 형식이다. 구조는 서주와 제시부, 발전부, 재현부, 대종결구로 되어있다. 제 1악장 분석에서 확인된 노르웨이 민족 음악적 요소를 포함한 부분들을 정리하면 다음과 같다. 서주는 노르웨이 민속요소의 특징인 개방5도가 도입 반주에 드러난다. 또한 민속요소의 선율적 특징인 선율의 동형진행 및 반음계적 진행을 찾아볼 수 있다. 제시부의 1주제에는 셋잇단음표와 부점으로 이루어진 민속리듬의 주제선율이 등장한다. 이 주제선율의 일부분인 모티브a는 반복적으로 변형되어 악장 전체에 나타난다. 약박에 악센트가 있는 왼손은 노르웨이 민속춤곡 리듬을 연상시킨다. 1주제와 첫 번째 2주제의 조성 안에 포함된 선법적 선율은 노르웨이 민속요소의 선율적 특징이다. 두 번째 2주제는 전체적으로 부점 리듬이며 왼손에는 민속요소의 화성적 특징인 페달 포인트가 깔려 있다. 소종결구에 사용된 꾸밈음은 노르웨이 민속요소인 풍부한 장식음의 특징이다. 발전부와 재현부에서도 제시부에 나타난 노르웨이 민속요소를 찾아볼 수 있다.
전체적으로 《바이올린 소나타 2번》1악장에는 그리그의 민속주의적 요소인 선법적 음계의 사용, 반음계적 진행과 동형진행, 풍부한 장식음, 개방4도와 5도 사용, 페달 포인트, 민속춤곡 리듬, 부점의 리듬이 곳곳에 나타난다.
Grieg《Violin sonata No.2》, written in 1867, was composed at the time he became a nationalist composer. Norwegian folkloric colors are deeply embedded in this work. Norwegian folkistic elements are divided into melody, harmony, and rhythm. The melody includes the use of 'modal' scales, sequence of me...
Grieg《Violin sonata No.2》, written in 1867, was composed at the time he became a nationalist composer. Norwegian folkloric colors are deeply embedded in this work. Norwegian folkistic elements are divided into melody, harmony, and rhythm. The melody includes the use of 'modal' scales, sequence of melodies, profusion of melodic ornament, and chromatic progression. The Harmony includes the use of opened fourths, fifths and pedal points. The rhythm includes the Norwegian folk dances Gangar, Halling, and Springdans rhythms and dotted rhythms.
First movement of《Violin Sonata No.2》is divided into Introduction, Exposition, Development, Recapitulation and Coda. Introduction is slow g minor and divided into three paragraph. The first paragraph follows the introduction of the Norwegian folk elements, including the opened fifths harmonic, followed by a cadenza melody of the violin. In the second paragraph, sequence and chromatic progression characterize the folk element melody. The third paragraph is ‘Poco Allegro’, which changes speed and serves as a link to the presentation.
The Exposition consists of primary Theme, Transition, Secondary Themes 1,2 and a Codetta. The Primary Theme is divided into three paragraphs. The theme of the first paragraph is composed of folk rhythms, triplets and dotted rhythms, and the position of the accent is replaced by a second beat, reminiscent of the folk dance rhythm.
The ‘motif a’, which is part of the theme melody, is transformed and repeated throughout the entire movement. In the second paragraph, the major melodic line was changed to the G Aeolian, which is characteristic of folk elements, was used. In the third paragraph, the theme melody is played in octave, and the piano has a long chromatic descent, a melodic characteristic of folk elements. The passage makes the connection to the Secondary Themes 1 .
The paragraphs of first Secondary Themes are divided into aa'b. The first paragraph is b minor, but the second paragraph is repeated with the melody in B Aeolian. This shows the use of modal scales, the melodic characteristic of the folk elements, and the pedal point. the harmonic element of the left hand, was used as a Prime chord. The third paragraph can be seen as a link to the second Secondary Themes, and the melody of the violin and piano makes a chromatic ascension. In the second Secondary Themes, the dotted rhythm of one theme element appears as a whole. In the violin melody of Codetta, the first Secondary Themes melodies are transformed. The added ornaments are rich ornaments that are a melodic characteristic of folk elements.
There are four parts of Development, and the elements of melody, harmony, and rhythm of the presentation are transformed. The first part is divided into three paragraphs aa'a ''. The composition was not clearly established, and the ‘motif a’ was used in the melody. The second part is b minor, and the melody of the first Secondary Themes appears. The violin imitates the melody of the left hand and follows the melody. The melody stands out as sequence shape in which short motifs are deformed and repeated. In the third part is D major and the triplet rhythm, which is the element of the first theme, is repeated in the octave relation, and the lengths of note is expanded. The piano also has sequence at the same time as the pedal point of the Prime chord. The harmonic and melodic features of the folk elements are simultaneously exhibited. The fourth part plays a role as a retransition and has returned to the G major to go to the Recapitulation. The violin uses a dotted rhythm element and a Grieg motif (upper tonic-leading note-dominant) on one theme, and the melody of the first Secondary Themes is transformed into a piano on harmony.
The Recapitulation is structurally similar to the Exposition, with Primary Theme is reduced and the Codetta is expanded. The first Secondary Themes were transposed into E Phrygian mode, a characteristic of folk melodies, was used when the melody was repeated. The second Secondary Themes are G major and contain features of folk elements such as the Exposition. The Codetta has been extended in length, but the Hemiola rhythm is appeared in the extended part. In the Coda, the melody of one subject was played up to the octave and the note was lengthened. In the middle, the direction has changed ‘Presto’, which gives the impression of ending the song.
This paper, we focused on the first movement of the《Violin Sonata No.2》in the Norwegian folklore, which has not been studied yet. I hope that he will help to understand Norwegian folk elements and his works in his works, and hopefully carry out further research on the rest of the movements.
Grieg《Violin sonata No.2》, written in 1867, was composed at the time he became a nationalist composer. Norwegian folkloric colors are deeply embedded in this work. Norwegian folkistic elements are divided into melody, harmony, and rhythm. The melody includes the use of 'modal' scales, sequence of melodies, profusion of melodic ornament, and chromatic progression. The Harmony includes the use of opened fourths, fifths and pedal points. The rhythm includes the Norwegian folk dances Gangar, Halling, and Springdans rhythms and dotted rhythms.
First movement of《Violin Sonata No.2》is divided into Introduction, Exposition, Development, Recapitulation and Coda. Introduction is slow g minor and divided into three paragraph. The first paragraph follows the introduction of the Norwegian folk elements, including the opened fifths harmonic, followed by a cadenza melody of the violin. In the second paragraph, sequence and chromatic progression characterize the folk element melody. The third paragraph is ‘Poco Allegro’, which changes speed and serves as a link to the presentation.
The Exposition consists of primary Theme, Transition, Secondary Themes 1,2 and a Codetta. The Primary Theme is divided into three paragraphs. The theme of the first paragraph is composed of folk rhythms, triplets and dotted rhythms, and the position of the accent is replaced by a second beat, reminiscent of the folk dance rhythm.
The ‘motif a’, which is part of the theme melody, is transformed and repeated throughout the entire movement. In the second paragraph, the major melodic line was changed to the G Aeolian, which is characteristic of folk elements, was used. In the third paragraph, the theme melody is played in octave, and the piano has a long chromatic descent, a melodic characteristic of folk elements. The passage makes the connection to the Secondary Themes 1 .
The paragraphs of first Secondary Themes are divided into aa'b. The first paragraph is b minor, but the second paragraph is repeated with the melody in B Aeolian. This shows the use of modal scales, the melodic characteristic of the folk elements, and the pedal point. the harmonic element of the left hand, was used as a Prime chord. The third paragraph can be seen as a link to the second Secondary Themes, and the melody of the violin and piano makes a chromatic ascension. In the second Secondary Themes, the dotted rhythm of one theme element appears as a whole. In the violin melody of Codetta, the first Secondary Themes melodies are transformed. The added ornaments are rich ornaments that are a melodic characteristic of folk elements.
There are four parts of Development, and the elements of melody, harmony, and rhythm of the presentation are transformed. The first part is divided into three paragraphs aa'a ''. The composition was not clearly established, and the ‘motif a’ was used in the melody. The second part is b minor, and the melody of the first Secondary Themes appears. The violin imitates the melody of the left hand and follows the melody. The melody stands out as sequence shape in which short motifs are deformed and repeated. In the third part is D major and the triplet rhythm, which is the element of the first theme, is repeated in the octave relation, and the lengths of note is expanded. The piano also has sequence at the same time as the pedal point of the Prime chord. The harmonic and melodic features of the folk elements are simultaneously exhibited. The fourth part plays a role as a retransition and has returned to the G major to go to the Recapitulation. The violin uses a dotted rhythm element and a Grieg motif (upper tonic-leading note-dominant) on one theme, and the melody of the first Secondary Themes is transformed into a piano on harmony.
The Recapitulation is structurally similar to the Exposition, with Primary Theme is reduced and the Codetta is expanded. The first Secondary Themes were transposed into E Phrygian mode, a characteristic of folk melodies, was used when the melody was repeated. The second Secondary Themes are G major and contain features of folk elements such as the Exposition. The Codetta has been extended in length, but the Hemiola rhythm is appeared in the extended part. In the Coda, the melody of one subject was played up to the octave and the note was lengthened. In the middle, the direction has changed ‘Presto’, which gives the impression of ending the song.
This paper, we focused on the first movement of the《Violin Sonata No.2》in the Norwegian folklore, which has not been studied yet. I hope that he will help to understand Norwegian folk elements and his works in his works, and hopefully carry out further research on the rest of the movements.
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