Johannes Brahms의 Violin sonata No. 1 in G major, Op. 78에 관한 분석 연구

박예지 영남대학교 대학원 2018 국내석사

브람스의 <Violin Sonata No. 1 in G major, Op. 78>은 브람스의 창작시기 중 중요한 전환점을 맞고 있는 제 3기(1876-1890)에 작곡되었으며, 그의 걸작 <교향곡 제 1번> 이후에 완성되었다. 이 곡은 고전주의의 절대음악적 형식미와 낭만주의적 정서를 내포하면서 브람스의 독자적인 작곡기법이 녹아있는 원숙기의 작품이다. 브람스의 엄격하고 완벽주의적인 성격 때문에 먼저 쓴 4개의 소나타를 파기하고 이후에 내어 놓은 세 개의 바이올린 소나타 중 첫 번째 작품이다. 본 연구에서는 위의 관점으로 브람스의 <Violin Sonata No. 1 in G major, Op. 78>을 실제로 연주함에 있어 작품연구를 통해 그의 작곡 의도를 파악하고 효과적인 연주와 참신한 연주해석을 도모하는 것을 목적으로 한다. 제 1악장은 제시부, 전개부, 재현부로 구성된 소나타 형식이며, 제 2악장은 3부 형식, 제 3악장은 제2론도형식이다. 이 작품의 주요한 특징으로 각 악장에서 주어진 동기들이 서로 유기적으로 연관이 있으며 순환적으로 구성되어 있다. 특히, 주요 동기인 부점리듬을 포함한 주선율(제 1주제)이 1악장 소나타형식 내에서 효과적으로 사용된 것뿐만 아니라 전 악장을 통틀어 다양하게 변주되어 나타나며, 모방, 반복 등 대위법적인 구조로 서로 주고받는 형식의 악구가 자주 나타난다. 그리고 헤미올라, 당김음, 교차리듬 등을 사용하여 곡 전반이 매우 밀도 있게 구성되어 있어서, 연주를 할 때 연주자가 음악적 긴장감 속에서 어느 한 마디도 소홀하게 넘길 수 없는 점을 관찰하였다. 전체적인 곡의 분위기는 철저한 고전적 형식 속에서도 초연하고 절제된 감정선의 표현으로 브람스 음악의 특징을 잘 보여준다. 이는 화성적 특징으로 딸림7화음, 부속7화음, 감7화음의 연속적이고 과감한 사용으로 반음계적 화성진행과 자유로운 전조를 가능하게 하고 여기에 대위적인 악구의 특징과 맞물려 브람스 특유의 색채감을 자아내고 있는 것이다. 비록 브람스가 철저하게 고전적 형식미를 추구했다고 하나, 이것이 브람스의 보수적 성향이 과거회기적인 진부한 음악으로 치부될 수 있음을 말하는 것이 아니다. 오히려, 그는 후기 낭만주의의 시작점에서 동시대의 바그너와 리스트처럼 과거를 벗어나는 것으로 새로운 길을 모색하려하지 않았다. 그의 음악은 고전주의의 형식미와 바로크의 대위법과 같은 과거의 유산들을 계승하면서 자신만의 색을 더해 더욱 혁신적인 음악세계를 구축한 것이다. 브람스는 과거를 회피하는 대신 과거의 대가들과 정정당당히 경쟁하고 당대의 음악을 아우르는 음악을 작곡한 것이다. 그의 예술정신은 정확함과 엄격함, 음악적 원리에 기초한 미학, 그리고 과거와 현재를 아우르면서도 혁신을 추구하는 것이었고, 그의 숭고한 업적으로 남아 후대의 여러 작곡가들에게 큰 영향을 끼쳤다. 본 논문을 통해 브람스 <Violin Sonata No. 1 in G major, Op. 78>에 대해 작곡가의 생애와 시대상, 그리고 작품배경에 대해 살펴보았고 작품 분석을 통해 고전적 형식미와 낭만적 음악요소들(선율, 리듬, 화성)을 결합한 작곡기법을 확인하였다. 이를 통해 본 작품에 녹아있는 브람스의 음악정신에 대한 탐구와 작곡가의 의도를 이해함으로 보다 작곡가의 의도에 부합하면서도 창의적인 연주해석에 도움이 되길 바라는 바이다. Johannes Brahms composed the <Violin Sonata No. 1 in G major, Op. 78> in his third period (1876-1890) of composition career, when it was a significant turning point right after having finished one of his masterpieces, the Symphony No. 1. It is one of his mature works, where he has used most of his personal and characteristic compositional techniques, along with Romanticism based on the absolute Classical musical forms. Having been a strict perfectionist, he tore off the scores of his four the first four sonatas and composed the next sonatas, and then rewrote three violin sonatas, the first of which is <Violin Sonata No. 1 in G major, Op. 78.> Based on the viewpoint above, the purpose of this paper is to comprehend the intention of his composition and to make a more novel interpretation and effective performance through the study of this work. The first movement is in Sonata-Allegro form consisting of Exposition, Development, and Recapitulation sections. The second movement is in a three-part Song Form and the third movement is in a second Rondo Form. The main characteristic feature of this work is that the motives given in each movement are systematically related each other by cyclic treatment. Particularly, the main motive, the first theme of the opening movement, including the dotted rhythm, not only is effectively used within the first movement Sonata-Allegro form, but also varies widely across the entire movements. In addition, the rhythmic is composed in hemiola, syncopation, and cross rhythm, etc., any measure in musical tension can not be neglected. The atmosphere of the whole song shows the characteristic of Brahms' music through the expression of tempered emotion even in the strict classical form. These are the harmonic characteristics of this work using the consecutive and bold use of sevent chords, of those dominant, secondary dominant and diminished. And they not only enable the chromatic harmonic progression and chord changes, but also show his unique musical originality in counterpoint. Although Brahms' thoroughly pursued the classical formal structure, it does not mean that Brahms' works can be regarded as conservative, old-fashioned cliches. Rather, Brahms' does not find a new way to avoid the past like Wagner and Liszt at the beginning of later romanticism. His work is the result of efforts to build a more innovative musical world not only by inheriting the past heritage such as classic form and baroque counterpoint, but also by adding his own style to it. In other words, instead of escaping from the past, Brahms competed fairly with the past masters and played his own music that encompassed contemporary music. His artistic spirit was to pursue not only innovation while bringing together the past and the present, but also aesthetics based on musical principles, precision, and rigor. As a result, his works have had a huge influence on the later generations. In this research, I have examined the composer's life, the age, and the background of the work of Brahms' <Violin Sonata No. 1 in G major, Op. 78> and identified the classical form and romantic musical parts (melody, rhythm, harmony) by analyzing his work. Through those, I hope to understand Brahms' spirit of music and the intention of the composer in his work. As well as I hope this study will be helpful to interpret creative performances while tallying with the composers intention.

Ludwig van Beethoven의 Vioiln Sonata No.8, No.30, No.3에 대한 연구 분석

오현수 이화여자대학교 대학원 2002 국내석사

음악 역사상 고전파 음악의 대표적 작곡자인 동시에 낭만파 음악의 선구자로 꼽히는 Ludwig van Beethoven(1770-1829)은 그의 생애를 통해 10곡의 Violin Sonata를 남겼다. 그 중 Op. 12~Op.30 까지의 8개 작품은 1798년부터 1802년 사이에 작곡되었다. 이 시기는 Beethoven 작품시기 구분상 제 1기, 즉 모방시기에 해당하며 Violin Sonata No. 8, Op. 30, No. 3 G 장조는 1801년에 시작하여 1802년에 완성된 3개의 Violin Sonata중 3번째 작품이다. 이 작품은 3악장 구성으로 제 1악장은 전형적인 Sonata 형식, 제 2악장은 제1주제와 제2주제가 대조적인 리듬과 선율을 갖고, 제 3악장은 빠른 템포로 구성된 2부분으로 된 론도형식이다. 이 곡은 Violin과 Piano가 대등하게 취급되었으며, 이 전에 쓰여진 7개의 다른 Violin Sonata에 비해 Violin 선율이 더욱 화려해지고 음역이 확대되는 등 성숙된 기법으로 쓰여졌다. 본 논문에서는 Beethoven Violin Sonata No. 8, Op. 30, No. 3의 분석을 통하여 전체적인 구조를 파악하고, 그의 전반적인 음악세계에 대한 이해를 도모하고자 한다. Luduig van Beethoven (1770-1829) who represents the Classical music and the Romantic music composed 10 violon sonatas throughout his life. Among them, 8 pieces were composed from 1798 to 1802, which cornesponds to his first period of music. The violin sonnata No, 8, Op. 30 no. 3 in G major which he began to compose in 1801 and completed by 1802 was the third of his violin sonatas. This piece has three movements; the first movement shows a typical sonata form, the second movement is ternary form whose middle part is reduced with irregular structure and the third movement which consists of 2parts with quick tempo has a rondo form. Compared with the other 7 violin sonatas, this piece shows more iuxurious violin melodies and expandedded range as well as mature thchniques. This study was aimed at analgzing Beethoven's violin sonata No, 8, Op. 30 no. 3 in overall stracture form, his general musical world.

Ludwig van Beethoven 의 Violin Sonata Op.47, No.9 in A Major 에 관한 연구

김사란 이화여자대학교 대학원 2002 국내석사

Ludwig van Beethoven(1779~1827)은 미국 독립전쟁, 프랑스 혁명과 같은 거대한 사회적 정치적 변화의 격동기에 출현한 인물이며 당대 Haydn 과 Mozart 와 함께 고전시기의 대표적 작곡가이다. 이 논문은 다양한 자료들을 근거로 그의 천재적이고 혁신적인 작곡 기법을 이해하고 그의 음악적 성격과 작품의 분석을 통하여 연주에 도움이 되고자 한다. 작품의 분석에는 작품 배경과 작품의 성격과 구조 등을 수록하고 있다. Beethoven 은 1797~1812 년에 걸쳐 10개의 소나타를 작곡했는데 1803년, 제 2기에 작곡된 "Kreuzer" sonata Op.47,no 9 는 베토벤의 실내악곡 중 가장 유명한것들중 하나이다. 이 곡은 프랑스의 유명한 바이올린 연주자이자 작곡가인 Rudolph Kreuzer (1776~1831) 에게 헌정 되었다. 제 1 악장은 제시부, 발전부, 재현부, coda 의 4 부분으로 나누어진 확장된 소나타 형식이다. 이 소나타는 빠른 주제로 이끄는 느리고 장중한 서주로 시작한다.특히 제 1악장에서 피아노부는 범위가 더욱 커지고, 바이올린은 더욱 화려해졌다. 제 2 악장은 대화하는듯한 구성의 주제와 변주로 이루어져 있으며 주제는 3부 가요형식으로 되어있다. 제 1 변주에서 피아노는 주제를 선율변주하고, 바이올린이3 연음보로 오블리가토 한다. 제 2 변주에서는 바이올린이 32분 음표를 이용한 변주로 선율을 이끌고 제 3 변주는 f minor 로 전조된다. 마지막 제 4 변주는 트릴과 피치카토 중음기법등을 사용하여 제 2 악장의 모든 변주중 가장 화려한 변주라 할 수 있다. 마지막 악장 Finale 역시 소나타 형식으로 되어있고, 우리가 지금 알고 있는 Op.47 의Finale 는 원래 Op.30, no.1 의 것이었으나 Op.30 no.1 에는 너무 화려하다는 이유로 현재의 변주곡과 대치되었다. 제 3 악장을 지배하는 요소는 Tarantella를 연상하게 하는 당김음의 리듬과 3 연음보 이다. Violin Sonata Op.47,no.9 는 오래된 관습의 실내악에서 벗어난 진정한 실내악 sonata라 할 수 있으며 여전히 음악사에 있어서 최고의 작품으로 남아있다. Beethoven appeared on the scene when new and powerful forces, like the American and French Revolutions, were creating enormous social and political upheavals in the world that Haydn and Mozart had known. This study aim to understand his ingenious , strenuous and innovative composing thechnique through examing various documents and notes, and is intended to help a musical performance through analyzing the musical characteristics and the work. The analysis includes a brief description of historical background and is centered on defining the structure and characteristic of this work. Beethoven composed 10 sonatas at intervals between 1797~1812. The "Kreuzer" sonata Op.47 is one of the best known of all Beethoven's chamber works and undoubtly deserves its renown. It composed in 1803 under his 2nd period and dedicated to Rudoph Kreuzer(1776~1831) , one of the celebrated violinist and composer in France. The first movement is written in an expanded sonata form including exposition, development ,recapitulation , and Coda. The sonata open with a majestic and slow introduction leading into a fast sonata form. A wider in the Piano part and more brilliant figuration in the violin are external symbols and moods of sublimity mark the slow movements . Op.47 (the "Kreuzer" sonata) 2nd movement give striking evidence of the new derection Beethoven took in his second period. The second movement is theme and variation, in which violin and piano are engaged in dialoguelike exchanges. Theme is under thernary form , In first variation , Piano part takes a melodic variation of theme, and violin expresses an obligato effect by triplet. In 2nd variation , violin takes a melodic variation with 32 notes. The third one modulated to f minor, the last variation is the most brilliant variation among all variations in second movement using an excution of trill , Pizziccato etc. The last movement is written also in sonata form . The finale of Op.30,no.1 was to be the one now known in Op.47, but that the present variations were substituted to avoid a movement too brilliant for Op.30,no.1 He took the finale from earlier sonata and wrote a new one for it later on. The main elements of this movement are the snapped rhythm and triplets. These elements dominate the third movement. The violin sonata Op.47,no.9 is the first really great sonata-no longer true chamber music in the old sense and still remains one of the great masterpieces in music.

Program Annotation;W. A. Mozart Sonata for Violin and Piano in B Flat Major, K.454 E. Grieg Sonata for Violin and Piano in c minor OP.45, No.3 H. Badings Sonata for Violin and Piano No.2

박선화 세종대학교 대학원 2018 국내석사

본 논문은 본인의 석사과정 이수를 위한 졸업 연주 program인 W. A. Mozart Sonata for Violin and Piano in B Flat Major K.454, E. Grieg Sonata for Violin and Piano in c minor Op.45, No.3, H. Badings Sonata for Violin and Piano No.2 작품을 심도 있게 이해하고 더욱 깊이 있는 연주를 할 수 있도록 연주기법을 연구하고자 한다. W. A. Mozart는 3악장으로 구성된 고전 sonata형식의 Sonata for Violin and Piano in B Flat Major, K.454를 1784년 Wien에서 작곡하였다. W. A. Mozart 이전에는 대부분의 Violin sonata가 piano의 반주부로 사용되었으나, K.454에서는 violin과 piano가 대등한 수준 혹은 violin이 더 중요하게 여겨지는 수준으로 violin이 곡의 선율을 이끌어 나가게 되었다. 제 1악장과 2악장은 sonata 형식이고 제 3악장은 rondo 형식이다. 19세기 낭만주의와 민족주의를 대표하는 작곡가인 E. Grieg (1843-1907)는 세 곡의 Sonatas for Violin and Piano를 작곡하였다. 그 중 마지막 작품인 Sonata for Violin and Piano in c minor OP.45, No.3는 Norway의 민속음악을 담고 있는 음악적 민족주의를 대표하는 곡중의 하나로 널리 인정받고 있다. 이 전의 두 sonata들은 몇 주안에 완성되었던 반면 세 번째 sonata를 완성하기 까지는 몇 달이 걸렸고 이 곡은 세 곡 중 가장 유명한 곡으로 남게 되었다. 이 논문에서는 어떤 방식으로 민족적 rhythm과 선율이 사용되었고 어떠한 관점으로 민족의식이 표현되었는지에 대하여 연구하였다. H. Badings (1907-1987)은 이례적인 음계와 화음을 많이 사용하였는데 major와 minor음계를 변환하는 팔음음계(Octatonic scale)를 주로 사용하였다. 그는 이 Violin Sonata No. 2를 그가 음악에 전념하기로 한 1937년 이후에 고전 음악 작곡이 활발했던 1939년에 작곡하였다. 그러한 영향으로 곡의 형식은 여전히 고전적인 sonata 형식으로 남아있지만 이례적인 음계와 현대적인 화성을 사용하여 작곡되었다. 제 1악장은 rhythmical한 Allegro이나 지나치지 않게 하며 제 2악장은 급하지 않은 tempo로 마치 춤곡을 연상하며 연주하고 제 3악장은 매우 경쾌한 tempo로 연주한다. In this paper I researched musical characteristics and violin play method of what I have studied for 3 pieces of my graduation recital program; W. A. Mozart Sonata for Violin and Piano in B Flat Major, K.454, E. Grieg Sonata for Violin and Piano in c minor Op.45 No.3, H. Badings Sonata for Violin and Piano No.2. W. A. Mozart composed this Sonata for Violin and Piano in B-Flat Major, K.454 in Wien in 1784, with 3 movements led by classical Sonata form. Before Mozart, most of Violin Sonatas had been used for the accompaniment of piano, however in K.454, violin and piano both lead the melodies as same level or more important in Violin. The first movement and second movement are the sonata forms, 3rd movement is the Rondo form. E. Grieg (1843-1907) who is the composer of romanticism and nationalism of the 19th century wrote three sonatas for violin and piano. As the last part, Sonata for Violin and Piano in c minor OP.45, No.3 is widely considered an example of his musical nationalism, as it contains references to Norwegian folk music. Whereas the first two sonatas were written in a matter of weeks, this sonata took him several months to complete, and remains the most popular of the three works, and has established itself in the standard repertoire. This sonata is constructed as three movements. In this paper, it showed how ethnical rhythms and melodies were used in the score and allows a view into the composing techniques and his ethnic spirit. H. Badings (1907-1987) is one of the best known figures in twentieth-century Dutch music. He used unusual musical scales and harmonies very often. He consistently employed the octatonic scale (alternating major and minor seconds); also he used the harmonic series scale from the eighth to the fifteenth overtone. He wrote this Violin Sonata No. 2 at 1939 when his classic composition was vigorous just after he had decided to devote in music in 1937. so the form is remained in classic sonata form but he used unusual musical scale and harmonies with frequent dissonance. 1st movement is rhythmical Allegro but need ma non troppo 2nd movement is Andante with imagination of dancing tempo and 3rd movement is Allegro with pleasing cadence.

Johanness Brahms의 Sonata no.3 op.108 for Violin and Piano 및 Be´la Barto´k의 Rhapsody no.1 for Violin and Piano에 대한 소고 : 졸업 연주 프로그램을 중심으로

오윤정 이화여자대학교 대학원 1993 국내석사

Johannes Brahms, Violin Sonata Op. 108, No.3 의 분석연구

김은정 충남대학교 대학원 2007 국내석사

본 논문은 브람스 바이올린 소나타 Op. 108, No. 3을 분석함으로서 브람스의 음악을 연구하고자 하였다. 이를 위해 낭만음악의 특징과 브람스의 생애 및 음악 세계를 우선 살펴보고, 각 악장에 나타나는 형식과 선율구조를 중심으로 분석 하였다. Among twenty four Brahms' chamber music works, there were three sonatas for the violin written in his late period of composition. The violin sonata Op. 108, No. 3 estimated as the greatest work in them was called as a duet of sonata because the piano was given more weight as compared with the other works in same period despite of the violin sonata and well harmonized with each other. In this paper, the Brahms' violin sonata No. 3, Op. 108 were investigated in view of the form and the melody structure. In the first movement, the form of the classic sonata was adopted. There was only the first theme in the development and the length of the development was shorter than the exposition. For the tonality of the recapitulation, the second theme was not d minor, but D Major and the first theme of the exposition appeared again in the end of the recapitulation. It indicated the difference with the sonata form of the classic period. For the melody structure, the violin and the piano were the same as the perfect fourth in the first theme. On the other hand, the second theme was composed of the minor second and third. Also, the measured times were redistributed from two nodes (◁수식 삽입▷(원문을 참조하세요)) to in order that the accent positions and the meaning of the bars might be made changed and obscure, respectively. The coda was begun as d minor by the rule of the classic sonata, however, it was immediately transposed into D Major to imply the tonality of the second movement The second movement of the slow D Major was composed of the section Ⅰ, Ⅱ and Ⅲ as the ternary form. For the form, although the only new elements generally appeared in the section Ⅱ, the new elements appeared with some features of the section I in this work. In the section Ⅲ, the elements of both section I and Ⅱ were seen on contrary to general repetition and reappearance of the section I. For the melody structure, in the section I, the parts of the violin and the piano were the minor third and major third as the same interval structure and played by contraries. In the section Ⅱ, the static features that the new repetition of a same pattern appeared in the part of the violin and the dynamic features that the elements of the section I were imitated in the part of the piano were shown. In section Ⅲ, there were both elements of section I and Ⅱ. The features of section I were the expansion of compass, the broken chord and the changing the articulation to the staccato. Also, the elements of section Ⅱ were pedal note of the piano and the part crossing between the violin and the piano. The third movement which was not the classic triple time but duple time of the fast tempo as the scherzo was made up of the section Ⅰ, Ⅱ and Ⅲ as the ternary form. For the form, in the section Ⅱ, the new elements was shown with some features of the section I. And the tonality relation between the section I and Ⅱ was far away (f#minor-F Major). For the melody structure, the descending each three times in weak beat and a pair of the rhythm pattern such as ①(◁그림 삽입▷(원문을 참조하세요)) and ②(◁그림 삽입▷(원문을 참조하세요)) were shown in the parts of the violin and the piano, respectively. When the theme melody was repeated, the rhythm pattern ① and ② of the piano appeared in the part of the violin and new rhythm pattern ③(◁그림 삽입▷(원문을 참조하세요))and ④(◁그림 삽입▷(원문을 참조하세요)) was presented in the part of the piano. In the section Ⅱ, the melody structure of the violin was reduced and imitated to those in the section I which descended each three times. Also, the new element of stepwise descending in the piano appeared. In the section Ⅲ, the sectionⅠ reappeared as changing technique of playing the violin into the pizzicato. The form of the fourth movement was the sonata-rondo form (A-B-A-C-A-B-A), which emphasized the sonata form more than the rondo form. In case of the form, the tonality relation between the first theme A (d minor) and the second theme B (C Major) was transposed into not the attendant keys, but the far tonality. Also, the repeated rondo theme A was not d minor but a minor. In the episode C, there were some similar features with the rondo theme A and B. However, as the episode C played a role as the development of the sonata form, the sonata form was emphasized as compared with the rondo form. Although the rondo theme A should appear in the recapitulation by the rule of the classic rondo form, it was omitted. The tonality of the repeated episode B was not d minor but F Major and it was different from the tonality relation of the recapitulation in the classic sonata form. For the melody structure of the fourth movement, the violin appeared as the perfect fourth in the first theme (Rondo theme A), which was supported by the piano of the broken chord. The second theme (Rondo theme B) was compose the motive ⓐ and ⓑ. The stepwise descending and the ↗shape of the melody structure appeared in the motive ⓐ and ⓑ, respectively. The episode C which played a role of the development made the first theme developed more greatly than the second theme and was characterized by the syncopations. Through the study on the Brahms' violin sonata Op. 108, No. 3, the common features between the first and fourth movements were found obviously. In case of the form, Firstly, though the form of both movements was influenced by the classic period, the changes to be free from previous form were pursued. Secondly, the exposition were emphasized as compared with the development and the recapitulation. Also, in the exposition, the first theme was made more important than the second theme through the development of it. Thirdly, the first and second themes appeared impartially in the parts of the violin and the piano, respectively, which were harmonized well. Finally, the characteristics of the classic and the romantic musics were expressed by various techniques such as the rhythm transform, the reduction and extension of theme, the expansion of compass, the compound rhythm, the cross rhythm, the syncopations, the dissonances and the broken chord with breaking from the regular rhythm. As a result of this study, the characteristics of the romantic music were summarized as follows. The violin and the piano were maintained impartially. And the tonality relation between themes was not the attendant keys of the classic period, but the far tonality. Also, the length of the exposition was longer than that of development and the first theme was more emphasized than the second theme. In other words, the first and second themes were well-balanced in the classic period, on the other hand, not in the post romantic period. Finally, the measures were redistributed with various techniques such as the inharmonic tones, the cross rhythm, the syncopations and the Hemiola, eventually, the bars became meaningless and the harmony was made tense more. Consequently, Brahms' violin sonata Op. 108, No. 3 was so significant in that Brahms made efforts to accept the characteristics of the romantic music on the basis of the classic form through it.

L. V. Beethoven Violin Sonata No. 5 Op. 24의 분석 연구 및 고찰

박지영 경북대학교 대학원 2019 국내석사

Ludwig Van Beethoven is the most outstanding composer of classical music. Classical music refers to music from the mid-18th century to the early 19th century. He played an active part mainly in Wien, Austria, along with Haydn and Mozart, and the three composers are also known as the First Wien School. The First Wien School developed sonata forms based on instrumental music and established the central composition techniques of classical music. Particularly, in the first movement, simple melody and rhythm were emphasized mainly by the use of the sonata movement style, and the smallest unit that made up this part was called motive. Beethoven preferred very small-scale motives in composing, and utilized and expanded it almost as if the entire movement was created by a single motive. This motive can also be found in the first movement of Beethoven Violin Sonata No. 5 Op. 24, and has relevance as it is used in another movement. Beethoven Violin Sonata No. 5 Op. 24, written in 1801, is an early violin sonata. If Beethoven's musical period is divided into three phases, it is considered the first phase (1782-1802) or the Period of Imitation. It was a time of imitating the music of Haydn and Mozart, but Beethoven freely composed on the basis of his own individuality without being greatly influenced by them. Additionally, he was interested in research, making new attempts at the compositions of his works. He expanded violin sonatas from three movements to four movements, and advanced the development sections. Moreover, he established that the piano and violins could be played equally. Rarely for his piano and violin works, he made the violin present the theme first in the introductory movement. While Beethoven Violin Sonata No. 5 Op. 24 is composed of four movements, each of the movements has a different form. The first movement has a sonata form, and can be largely divided into a presentation section, a development section, a reproduction section, and a coda. The second movement has a free variation form, and changes and develops theme A to A 'and A”. The third movement has a complex three-part format, consisting of a scherzo, a trio, and a scherzo. The fourth movement finishes with ABACABA and a coda in a rondo form. Based on these studies, by analyzing and contemplating Beethoven Violin Sonata No. 5 Op. 24, this paper aims to take one step closer to the intention of the composer and help to understand the music with a broader perspective. Furthermore, it intends to lay the groundwork for the performer to perform more effectively based on the theoretical understanding.

L. v. Beethoven의 초기 violin sonata에 관한 연구 : op.12, no.1을 중심으로

이승진 이화여자대학교 대학원 2001 국내석사

본 논문은 Ludwig van Beethoven의 바이올린 소나타 Op. 12, No. 1을 중심으로 그의 초기 바이올린 소나타에 관해 연구한 것으로 음악적 특징과 작품 분석을 통해 연주에 도움을 얻고자 한다. 그의 바이올린 소나타는 모두 10곡으로 이 작품은 그의 창작 시기중 초기에 속하는 것으로 소나타 형식에 서로 다른 음색을 가진 피아노와 바이올린 두 악기를 긴밀하게 결합하였다. 초기의 바이올린 소나타는 하이든과 모차르트의 영향 하에 3악장 구성의 형식을 갖고 있고 피아노에 더 많은 음악적 비중을 두었기 때문에 <바이올린 반주가 붙는 피아노 소나타>라는 표제가 붙어 있었다. 전반적인 음악적 특징은 규칙적인 프레이즈(phrase)의 주제를 명확한 리듬과 I, IV, V중심의 기본적 화성 진행으로 전개하며 대조적인 강약을 강조함으로써 이 전 시대의 전통에 혁신적이고 예술적인 음악양식을 가미하였다. 본 논문에서 분석하고자 하는 Op. 12, No. 1은 1799년 작곡되었고 주제적 동기의 발전이 축소, 확대, 모방 등의 대위법적 작곡기법, 동형진행에 의해 다양하게 전개된다. 또한 각 악장 사이의 주제가 순환되어 연관성을 가지며 부속화음과 3도 관계의 전조를 사용하며 cresc.와 decresc., fp, sf, ff등 피아노를 위한 자세한 강약과 뚜렷하고 빠른 f와 p의 교대 등의 음악적 특징을 갖는다. 제1악장은 소나타 형식, 제2악장은 변주곡 형식, 제3악장은 론도형식으로 빠름-느림-빠름 순서의 템포를 가진 악곡으로 제2악장에 채택한 변주곡 형식은 베토벤 특유의 주제 발전 기법을 개성적으로 표현한 예로 볼 수 있다. 그 외에 비교적 긴 경과구, 반음계, 액센트, 계류음, 경과음, 당김음 리듬 등의 음악적 특징을 찾아보도록 한다 This thesis is a thing which studied some initial violin sonatas of Ludwig van Beethoven, centered on his <violin sonata Op. 12, No. 1> and is intended to help a musical performance through analyzing the musical characteristics and the work. His violin sonatas consist of 10 pieces and this piece is one of the works of the initial age in terms of his creating times and closely combined a sonata form with 2 musical instruments, piano and violin which have different tone colors each other. Because the initial-age sonata, influenced by Haydn and Mozart, had 3-movement form and placed more weight on piano than other musical instruments, it was entitled <a piano sonata accompanied by violin>. The general characteristic of this music is that it added an innovative and artistic music beauty to the tradition of the former age by unfolding a theme of a systematic phrase with a definite rhythm and a basic harmonic progression centered on I, IV, V and emphasizing contrastive dynamics. The <Op. 12, No. 1> which will be analyzed in this thesis was composed in 1799 and its development of the thematic motive is unfolded in a wide variety by composition techniques of counterpoint, which consist of diminishment, augmentation and imitation, and so forth, and by sequential progression. Futhermore, the theme of each movement rotates to have some relation to each other, and secondary dominant and 3-degree modulation are used, and detailed dynamics for piano like cresc., decresc., fp, sf, ff, etc. and remarkable and quick alternation of f and p are also its musical characteristics. The first movement is a sonata form, the second one a variation form, the third one a rondo form, and this piece has a tempo of an order of fast-slow-fast and the variation form adopted in the second movement can be shown as an example which expresses Beethoven's unique theme-developing technique. In addition, the more musical characteristics are comparatively long bridge, chromatic melody, accent, suspension, passing tone, syncopation rhythm, and so on.

L. V. Beethoven의 Violin Sonata No.1 op.12 제1악장의 작품 분석과 연주의 비교

남인영 단국대학교 대학원 2003 국내석사

베토벤(Ludwig Van Beethoven ; 1770~1827)은 하이든과 모차르트에 이어 고전주의 음악양식을 계승·발전시키고 자신만의 독자적인 음악 세계를 창조하여 낭만 시대로 이끌어 간 작곡가이다. 베토벤의 바이올린 소나타 제 1번은 연구자의 석사 과정 이수를 위한 졸업 연주 곡목 중 하나로, 이 작품의 구조와 특징 등을 분석하여 그의 작품 세계를 이해하고, 서로 다른 연주자들의 비교를 통하여 좀더 나은 연주를 하고자 하는 데에 연구의 목적을 두고 있다. 베토벤은 10개의 바이올린 소나타를 작곡하였는데 그 중 첫 번째 작품인 제 1번 소나타는 1789년경에 작곡되었고 살리에리(Antonio Salieri ; 1750~1825)에게 헌정되었다. 이 작품은 형식과 연대를 기초로 하여 나눈 뱅상 당디(Vincent d'Indy ; 1851~1931)에 의한 시기 구분 중 제 1기에 해당하는 작품으로 빈(Wien)고전 악파의 영향을 받은 전형적인 고전 소나타 형태의 3악장으로 구성된 작품이다. 제 1악장은 소나타 형식, 제 2악장은 변주곡 형식, 제 3악장은 론도 형식을 취하고 있다. 제 1악장은 발전부가 제시부에 비해 단조롭고 재현부 역시 제시부를 그대로 재현하고 있으나 12마디가 생략되어 규모가 축소되었다. 또한 코다가 생략된 것이 특징이다. 주제 선율은 비교적 단순한 편이며 리듬의 축소와 확대 등의 방법으로 변형·발전되어 있다. 또한 피아노와 바이올린이 선율을 서로 주고받는 모방과 역행, 동형진행, 리듬의 변화 등 베토벤의 작곡 어법이 고루 나타나 있다. 화성 진행은 주요 3화음과 Ⅴ7을 중심으로 한 복잡하지 않은 화성 진행이 대부분이고, 극적인 감정의 표현을 위한 ff와 p의 대조, cresendo 후 곧바로 나타나는 p, 약박에 위치한 sf 등 이전시기에는 볼 수 없었던 다이나믹의 변화를 시도한 베토벤 음악의 특징들이 나타난다. 또한 고전 시대의 전통을 따르고 있기는 하지만 피아노가 주도적인 역할을 담당했던 고전 시대의 소나타와는 달리 피아노와 바이올린이 서로 대등한 관계에서 이중주로서의 면모를 잘 보여주고 있다. 연주는 이 곡을 해석하는데 있어서 시대별로 다비드(Ferdinand David ; 1810~1873), 요하임(Joseph Joachim ; 1831~1907), 크라이슬러(Fritz Kreisler ; 1875~1962), 프란체스카티(Zino Francescatti ; 1905~ )의 Bowing(운궁법), Fingering(운지법), Articulation의 차이를 알아보았는데 다비드와 요하임은 서로 비슷한 운궁법을, 크라이슬러와 프란체스카티는 각기 서로 다른 운궁법을 보여주고 있고, 운지법에 있어서도 역시 다비드와 요하임은 거의 표시가 없지만 크라이슬러는 제 1포지션과 제 3포지션의 사용이 두드러지고, 프란체스카티는 제 1포지션에서 제 5포지션까지 다양하게 사용하였다. 아티큘레이션에서는 요하임과 크라이슬러가 주로 스타카토를 사용한 반면, 다비드와 프란체스카티는 테누토를 사용하여 좀 더 부드럽고 선율적이며 분명하고 충실한 소리를 추구하였다. 이와 같이 앞서 언급한 4명의 연주 비교를 통하여 이 곡에 대한 서로 다른 해석을 경험하고 폭넓게 이해함으로서 보다 나은 연주를 할 수 있을 것이다. Ludwig Van Beethoven, who had developed the Classical music after Haydn and Mozart, created his own musical style and made a portal to Romantic Music. Violin Sonata No.1 op.12 by L. V. Beethoven is one of the repertories which was performed by the writer in a completion recital for master's degree. The purpose of this study is for the good performance through analysis its musical structure and characteristic and analysis and comparison of the different editions of four violist. Beethoven composed ten violin sonatas. The Violin Sonata No.1, was dedicated to Antonio Salieri in 1789. It is a typical classic sonata, which has three movements. Beethoven affected by Wien composers in musical style. The Violin Sonata No.1 is classified as the work of the first period by format and chronology by Vincent d'Indy. The first movement is composed in sonata-allegro form, the second movement is in variation form, and the third movement is in rondo form. The development of the first movement is simpler than the exposition, The recapitulation is also following the exposition but curtailed by omitting twelve phrases. Moreover, the coda was abbreviated. The main melody is not only simple, but also has variations by shortening and extension of rhythm. Therefore, it shows the basic compositional technique of Beethoven - such as imitations, inversion, sequence, variation ... etc. The harmonic texture is organized by simple fundamental chords and Ⅴ7. There are lots of characteristics of Beethoven's music, such as comparison of "ff" and "p" for expressing dramatic emotion, expressing "p" right after cresendo, positioning of a little beat. In conclusion, Beethoven's Violin Sonata No.1 op.12 shows that the Violin and Piano have equal positioned. The performance and musical interpretation were compared with different musicians such as Joseph Joachim, Ferdinand David, Fritz Kreisler, Zino Francescatti. The comparison was about bowing, fingering, articulation. Joachim and David performed with same bowing, but Kreisler and Francescatti used different bowing. There was no difference between Joachim and David in fingering, however Kreisler put to use the first position and the third position. Francescatti showed various changes of position. In articulation, Joachim and Kreisler used staccato mostly, David and Francescatti applied to tenuto for making soft and full sound. By comparing four different edition by four different violinists, the better performance will be possible through more experience and understanding.

L.v. Beethoven Violin Sonata Op. 12 No. 1 의 악곡분석

박미영 경상대학교 대학원 2007 국내석사

Ludwig van Beethoven composed ten violin sonatas. His works are divided into the three periods by style and age: the Imitation(1770-1802) that is the first period, the Externalization(1803-1816) that is second one and the Reflection (1816-1827), the third. His ten violin sonatas are all in the first and the second period. No. 1, No. 2 and No. 3 in Op. 12 and Op. 23 are in the first period. And among six sonatas Op. 24 which is called Spring Sonata and Op. 47 called Kreutzer Sonata are in the second period and his typical works. In this thesis, Beethoven's Violin Sonata Op. 12 No. 1 is selected, and a classical sonata form which is examined tendency of a work by background of the times and his musical style of the early violin sonata are studied. This thesis is analyzed by structure, form, melody, rhythm, harmony and dynamics, and is intended to understand his world of music and be of help to performance. Beethoven's Violin Sonata Op. 12 No. 1 is composed of three movements of Allegro-Adagio-Allegro, and main triad is dominant and his peculiar dynamics is characteristic of it. The first movement, Allegro con brio, has D Major and a classical sonata form, and is made up of Exposition, Development and Recapitulation. Exposition is divided into the first Theme, the second Theme and Codetta, and between each theme variation of tonality is intended through bridge passage. Development consists of two parts and is strikingly reduced in the number of bars, compared with Exposition. Recapitulation is similar to Exposition in division, but is different in a way which Codetta in Exposition is expanded, developed into Coda and concluded. The second movement, Andante con moto, has A Major which is Dominant of an original key, and is made up of Theme and four Variations. Theme contrasted by lyrical A part and a little rhythmical B part, has elements to vary, and played each melody on a piano and a violin by turns, just as both musical instruments have a conversation each other. The first variation which is melody variation, is begun by the piano, the violin plays a role of accompaniment with short rhythm and uses an ornament of figure variations. The second variation is ornament variation which is dominated by the violin, and is accompanied on arpeggio of the piano. While melody of the Duplum of the piano in the first variation falls down, that in the second variation has a rising figure. In the third variation, a tonality is changed into a minor, and the violin and the piano are in progress by turns. In the duplum of the piano, a dynamic tercet with a staccato is consistent, and in the lower part, a short note value of a thirty-second note(demisemiquaver) is used and tension appears. The fourth variation has A Major which is the original key and shows the distinguishing elements used in the previous variations. In the first segment, melody appears in inner part of the piano, and in the later one, melody of the violin is expressed and rhythmical variation of the piano is characteristic of it. The third movement consists of a cheerful Rondo form with Allegro, and is similar to the first movement in tonality of D Major which is typical of a classical form. The structure of the musical piece is composed of A-B-A'-C-A"-B'-Coda.