베토벤 피아노 소나타에 나타나는 코다(coda) 처리 기법

• 영문명: A Study of Beethoven’s Handlings of the Coda as Seen in His Piano Sonatas
• 발행기관: 한국서양음악학회
• 저자명: 송무경
• 간행물 정보: 『서양음악학』제11권 제1호, 11~45쪽, 전체 35쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 2008.01.30

영문 초록

Although music scholars have researched a musical form, particularly sonata form for over 200 years, they tended to downplay structural roles of the final formal unit, “coda.” A close inspection of the music dictionaries reflects such a tendency that roles of the coda in the sonata form have been devaluated in comparison to the proceeding sections. However, recent studies from a Schenkerian perspective reveal that the 18th-century standpoint of the coda, in which one understands it simply as a rhetorical appendix to the proceeding main body, experiences a modification and supplementation. The goal of this article is to study Beethoven’s unique ways of handlings the coda by examining sonata-form movements from his piano sonatas. For this task, I have reviewed concepts of the coda by Heinrich Schenker, Robert Hopkins, John Rink, etc. and then taken Joseph Kerman’s monumental study as a point of departure for the stylistic analysis of Beethoven’s piano works. I distinguished distinctive functions of the coda in first movements of Op. 2/3, Op. 53, and, Op. 81a, and third movement of Op. 31/2, by espousing critically Kerman’s opinions on distinctive roles of the coda. The analytic result proves that codas of each work carry quite different functions: in Op. 2/3, Beethoven put structural significance into the coda by interpolating it between divided codettas; in Op. 53, the coda serves as strategic place that dissolves accumulative large-scale dissonance; and Op. 81a, and Op. 31/2 take the coda as a peroration containing diverse motivic reworking processes.

목차

1. 서론

2. 선별된 베토벤 피아노 소나타에서 코다의 역할과 유형

3. 결론

참고문헌

키워드

베토벤 피아노 소나타 코다 소나타 형식 쉔커식 분석이론 장광설 Beethoven Piano Sonatas coda sonata form Schenkerian Theory peroration