S. Prokofiev Violin Sonata No.2 Op.94a의 연구 및 분석 : A study of Sergei Prokofiev Violin Sonata No. 2, Op. 94a

국문 초록 (Abstract)

20세기 현대음악은 조성과 전통적인 고유형식의 음악에서 벗어나 새로운 음악을 추구하는 경향이 크게 나타난다. 20세기는 과학의 급속한 발전과 함께 전반에 일어난 제 1차 세계대전으로 인해 유럽의 정치적, 시대적, 사회적, 경제적인 변화와 더불어 이러한 변화의 흐름은 음악에도 많은 변화를 주었다. 특히, 조성의 붕괴가 시작되면서 새로운 사조들로 구성된 신고전주의 음악이 20세기 초에 등장하였고 당시 유럽 음악에 주류를 이루었다. 신고주의 음악은 전통적인 음악과 형식에 매우 정확한 조성 체계를 작품에 사용하고 추구하는 경향을 보인다. 낭만주의의 주관적인 감정과 표제성에 대한 반감에서 비롯된 신고전주의 음악은, 낭만 이전의 작곡기법, 형식과 구조, 연주 형태를 사용하여 새로운 음악을 새롭게 작곡하는 사조이다. 20세기 초반의 다른 음악 양식들은 과거와는 다른 새로운 음악적 어법을 발견하고자한 반면, 신고전주의는 과거의 음악적 어법을 재해석하며 적극 수용하여 새로운 음악적 언어요소와 결합시킨 독창적인 음악이 탄생하게 되었다. 이후 독일음악에도 많은 영향을 발휘했다. 1920년대 제 2차 세계대전이 마무리되는 시기부터 극단적인 아방가르드 경향의 음악이 나타나는 1950년대까지 현대음악을 이끄는 중요한 음악 사조로 큰 영향력을 발휘하였다. 따라서 본 논문은 현대음악의 중요한 사조 중 하나로 손꼽히는 신고전주의 음악의 역사적 배경과 특징을 살펴본 후 시대적 변화에 따른 신고전주의 음악의 발전 과정을 알아보고자 한다. 이를 통해 신고전주의 음악이 전통과 현대를 어떠한 방법으로 조화를 이루었는지 알아봄으로 작곡기법을 이해하고 명확히 하여 작품에 적용시키는데 도움이 되고자 한다. 본 논문의 연구 범위와 방법은 다음의 네 가지와 같다. 첫째, 제 1차 세계대전을 전후로 유럽의 정치적, 사회적, 경제적 상황과 현대 음악의 발전 과정을 알아보고 신고전주의 음악의 배경과 발전 과정을 연구하였다. 둘째, 러시아의 대표적인 신고전주의 작곡가인 프로코피에프의 생애를 알아보고 각 시기별 작품들의 특징을 연구하였다. 셋째, 프로코피에프 작품의 5가지 음악 어법을 살펴보고 20세기의 음악적 특징과 배경을 알아보았다. 넷째, 프로코피에프 <Violin Sonata No.2 Op.94a>를 분석하여 작품의 특징에 대하여 알아보고 신고전주의 일반적인 특징과 경향을 파악하는 것을 목적으로 한다. 이를 바탕으로 <Violin Sonata No.2 Op.94a>의 작곡배경과 특징을 살펴본 후 작품의 형식, 조성, 화성, 선율, 리듬, 다이내믹, 악기 배치, 악기 구성, 그리고 작곡 기법에 대한 연구도 함께 이루어졌다. 그 결과 각각의 결론들이 나타났으며 그에 따른 연주법도 함께 제시하였다. 이 작품의 결론들은 네 개의 악장에서 볼 수 있는데, 그 결과는 다음과 같다. 먼저 선율적으로는 서정적인 노래가 뚜렷하게 나타나고 반음계적 진행과 신고전주의적인 대위법 사용이 독특하다. 또한, 반진행과 동형진행, 성부간의 유니즌을 빈번하게 사용하였고 악센트, 스타카토, 피치카토 주법을 통해 역동적인 분위기를 조성하였다. 화성적으로는 완전 5도 및 8도 병진행의 사용과 기본 화음에 경과음, 보조음을 이용해 불협화음을 부가하였다. 완전하게 조성음악의 범위를 벗어나는 것이 아닌 확실한 조성으로 연결하였다. 리듬적으로는 강박의 이동, 의도적인 악센트 위치 변화, 잦은 박자의 교체, 헤미올라와 당김음, 반복되는 연속적인 리듬과 여러 가지 형식의 계속되는 오스티나토 기법의 사용은 추진적, 타악기적인 효과의 표현과 더불어 프로코피에프만의 해학적이고 현대적인 독특한 특징과 성격을 잘 보여준다. 따라서 본 논문의 연구를 통하여 프로코피에프 <Violin Sonata No.2 Op.94a>는 고전 소나타 형식에 바탕을 두고 옛 방식을 프로코피에프 자신만의 5가지 음악 어법들로 결합함으로 전통과 혁신을 잘 융합시킨 20세기 전반적인 시대 배경이 잘 드러난 신고전주의 양식의 대표 곡임을 알 수 있다. 또한 연주하는데 있어서는 음악적 배경을 통한 작곡가의 이해와 악곡분석을 통하여 연주자의 보다 심도 있는 음악적 해설과 프로코피에프의 독특한 음악세계를 고찰해보고자 한다.

다국어 초록 (Multilingual Abstract)

Modern music in 20th century escapes traditional structures and searches for new trends. The rapid technological development and the political, generational, social, and economic changes since the First World War also caused immense changes in music. Among them, Neo-classicism emerged which formed a mainstream in Europe. Neo-classicism shows a trend that strives for the use of traditional form with a clear tonal system. Away from the subjective emotions of romanticism, the trend uses the compositional techniques, form and structure, and performance elements to create new music. While the other genres of the early 20th century sought after entirely new ways of expression, neo-classicism reinterprets past music form and re-uses its elements to produce a new music language. Following on, Neo-classicism influenced music in Germany through the 1920s after the Second World War and until the 1950s and the avant-garde movement, leading the contemporary music development at the time. This dissertation analyzes the historical background, development, and characteristics of Neo-classicism, in order to gain an understanding of how the genre combines tradition and the contemporary, after which the composition techniques are applied. The scope and methodology of the dissertation is divided into four sections. First, the historical background in Europe before and after the First World War is considered in the context of political, social, economic, and modern music development, which provides insight into the background surrounding neo-classicism. Secondly, the background of the famed Russian neo-classical composer, Prokofiev, is explored along with periodical composition trends. Thirdly, by investigating the five music expressions from Prokofiev’s work, the characteristics and background of 20th century music is explored. Fourthly, a case analysis of Prokofiev’s Violin Sonata No. 2 is carried out with the purpose of identifying the work’s characteristics and its neo-classical elements and trends. On the basis of above, the dissertation investigates composition background and characteristics of the Violin Sonata No.2 Op.94a. The composition form, tonality, harmony, melody, rhythm, dynamics, instrumentation, and composition techniques are analyzed and individual conclusions are drawn. Related performance directions are also given based on the findings from the four movements. In conclusion, the melodic aspect show the use of lyricism, chromatic progression, and the use of neo-classical counterpoint. Additionally, there is a frequent use of sequences and unison lines, coupled together with a dynamic use of effects and directions such as accents, staccato, and pizzicato. Harmonically, the parallel use of perfect fifth and octaves, and the frequent use of added transient and auxiliary notes, contribute to dissonance color in harmony without escaping the scope of tonal music in its entirety. Rythmically, the compulsive movement, purposeful accent placement, rhythmic shift, hemiola and syncopation, repetitions and various ostinato techniques often portray a percussive effect and the modern and unique characteristic of Prokofiev’s composition style. In short, through an analysis of Prokofiev’s Violin Sonata No.2, the research finds that the traditional sonata form is co-joined with Prokofiev’s five expressions in a Neo-classical composition. As well as combining tradition and innovation, a shift in 20th century composition is portrayed. In performance context, the background, compositional understanding, and analysis contributes to a deeper musical understanding for the performer and consideration of the composer’s music world.

목차 (Table of Contents)

• 국문초록 ·············································································· ⅰ
• 목 차 ·············································································· ⅳ
• 표 목 차 ·············································································· ⅵ
• 악보목차 ·············································································· ⅶ
• Ⅰ. 서론 ··············································································· 1
• 1. 연구 목적 ······································································ 1
• 2. 연구 범위와 방법 ···························································· 3
• Ⅱ. 본론 ··············································································· 4
• 1. 프로코피에프(Sergei Prokofiev)의 음악적 특성 ······················ 4
• 1) 20C 전후의 음악적 배경 ··············································· 4
• 2) Prokofiev의 신고전주의 ················································· 8
• 3) Prokofiev 작품의 5가지 어법 ·········································· 11
• (1) 고전적(Classical)요소 ················································· 11
• (2) 혁신적(Innovation)요소 ··············································· 12
• (3) 토카타(Toccata)요소 ·················································· 12
• (4) 서정적(Lyrical)요소 ··················································· 13
• (5) 해학적(Grotesque)요소 ··············································· 14
• 2. 프로코피에프(Sergei Prokofiev)의 생애와 음악활동 ················ 16
• 1) 프로코피에프의 생애 ···················································· 16
• (1) 제 1기 ···································································· 16
• (2) 제 2기 ···································································· 18
• (3) 제 3기 ···································································· 19
• 3. S. Prokofiev Violin Sonata No.2 Op.94a의 분석 ····················· 21
• 1) 작품 배경 ··································································· 21
• 2) 작품 분석 ··································································· 22
• (1) 1악장 ····································································· 23
• ➀ 제시부 ································································· 23
• 1) 제 1주제부 ························································· 24
• 2) 제 2주제부 ························································· 27
• 3) Codetta ······························································ 29
• ➁ 발전부 ································································· 30
• ➂ 재현부 ································································· 36
• ➃ Coda ···································································· 37
• (2) 2악장 ····································································· 39
• ➀ Part A ·································································· 40
• 1) Codetta ····························································· 47
• ➁ Part B ·································································· 47
• ➂ Part A′································································ 50
• 1) Coda ································································ 51
• (3) 3악장 ····································································· 52
• ➀ Part A ·································································· 53
• ➁ Part B ·································································· 55
• ➂ Part A′································································ 58
• (4) 4악장 ····································································· 60
• ➀ 제시부 ································································· 61
• 1) A부분 ······························································ 61
• 2) B부분 ······························································ 64
• 3) A´부분 ····························································· 66
• 4) B´부분 ····························································· 67
• ➁ 발전부 ································································· 68
• 5) C부분 ······························································ 68
• ➂ 재현부 ································································· 72
• 6) A´´부분 ···························································· 72
• 7) B′′부분 ···························································· 73
• 8) Coda ································································ 74
• Ⅲ. 결론 ··············································································· 76
• Ⅳ. 참고문헌 ········································································· 79
• Ⅴ. Abstract ··········································································· 82