R.Schumann의 <Fantasiestücke, Op.12>에 관한 연구 = (A) study of R.Schumann's <Fantasiestücke, Op.12>

다국어 초록 (Multilingual Abstract)

Schumann, one of the representative composers of romantic music, reflects the inspiration derived from literary works of Hoffmann, Richter and Goethe to his works. In his works, mottos and motivation are revealed by enciphering letters or describing virtual characters. Also, in his works, he made poems as an important factor by title or quotation. Like this, his works are full of literary atmosphere.
<Fantasiest&uuml;cke Op.12> has lots of poetic relationship and called as 'an anthology of poems by a tone', cause of its poetic titles. So, it is possible to find similar things with his Lied, that brings its musical materials from Heine, Eichendorff, Chamisso, and Goethe's poems. It takes a form of suite of 8 pieces with titles, and each piece has literary and musical elements.
Following are the results of the analysis ;
First, as for formality, this music adopted binary, natural ternary or rondo forms. By taking this form, most pieces make natural repetition following intention of the titles o the pieces without any fixed rules.
Second, Schmann seeks for beauty of melody and it is short and simple. Melody expands itself by progressing with repetitive motives of 2 to 4 bars rather than developing and expanding itself without repetition.
Third, the cross rhythms show a complex rhythmical change. The usage of harmonically altering syncopation and compound rhythm makes beats rather multifaceted.
Fourth, as for harmony, this music frequently adopted a variety of altered chords, diminished seventh chords, and sequential repetitions as a result, chromatic progress is repeatedly shown, and enharmonic modulation is quite often utilized.
As above, he tried to unify various musical techniques with literary aspects and complete his expression, also he made his own unique musical world through Character Piece, and did important role in the Romantic Music.

목차 (Table of Contents)

• Ⅰ.서론
• Ⅱ.본론
• 1. 성격적 소곡의 정의와 역사적 배경
• 2. 낭만주의 성격적 소곡의 특징
• 3. 슈만의 피아노 음악
• 4. 슈만의 성격적 소곡
• 5. Fantasiest&uuml;cke Op.12 분석
• Ⅲ.결론
• 참고문헌
• Abstract