베토벤 피아노 소나타 Op.110의 분석 연구 : 후기 피아노 소나타의 특징을 중심으로

다국어 초록 (Multilingual Abstract)

In his later piano sonatas, Beethoven shows a transitional form, breaks free from traditional form, and uses his own free and original compositional technique. In Beethoven’s piano sonata Op.110, we can see that Bach’s fugue form, Haydn and Mozart’s strict sonata form, Schubert’s song-like melody and theme application method, Chopin’s bel canto style, and Schumann’s frequent modulation and use of syncopation, are intricately combined.
The researcher has studied the overall characteristics of Beethoven’s later piano sonatas, and based on the characteristics, decided to analyze and research Beethoven Piano Sonata No.31 in A♭Major Op.110.
The characteristics of the later piano sonatas are comprised of complex organization, frequent modulation, melodizing of base, restructuring by using the melody of folk music, variation of rhythm, use of long trills, use of fugue, use of thematic variation, use of frequent una corda, and the continuity between the parts within the movement and the movements. The result of analyzing and researching Op.110 based on these characteristics are as follows.
The first movement uses a free sonata form of A♭Major and a 3/4 beat, where development is reduced. The sonata starts with Moderato instead of Allegro, which was used as a more general compositional technique at that time. Also, the melody, which appears in the first introduction, is spread among the development, recapitulation, and the fugue melody of the third movement, therefore revealing that each part is connected in systematic flow. The second movement was composed in f minor, 2/4 beat and in Allegro instead of traditional slow movement, which shows an innovation in movement arrangement. Also, the melody of this movement is distinctive in that it was restructured by using the folk music melody and the melody connects to the third movement using attacca. The third movement, in b♭minor, 4/4, is a complex structure of introduction; introduction that includes Recitativo, two arias, and two fugues. The introduction begins with una corda and frequent modulation appears. In the recitativo, the beat becomes vague, creating a free feeling. In this part, through the Bebung effect (the making of vibration on clavichord by alternatively increasing and decreasing the finger pressure on the keys) the tempo increases and a unique rhythm effect-of free and improvisational characteristic-is made. The aria part is distinctive because of the tension created by syncopation and rest, and the fugue has a looser structure than Bach’s fugue, as its main melody appears modified and expanded.
The researcher intends to understand the characteristics of Baroque elements such as the fugue form, Classicism elements such as sonata form, and Romanticism elements such as frequent modulation, theme application method, variation of rhythm and frequent use of una corda shown in Beethoven’s later piano Sonata Op.110. This research can help musicians play this piece with stronger appeal and thereby communicate even better with their listeners.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구의 필요성 및 목적 1
• 2. 연구의 방법과 범위 2
• Ⅱ. 이론적 배경 3
• 1. 베토벤의 생애와 음악적 배경 3
• 1) 생애 3
• 2) 음악적 배경 5
• 2. 베토벤 32개 피아노 소나타의 시기별 구분 및 특징 7
• 1) 초기 피아노 소나타 10
• 2) 중기 피아노 소나타 13
• 3) 후기 피아노 소나타 18
• Ⅲ. 베토벤 피아노 소나타 Op.110 분석 36
• 1. 제1악장 36
• 2. 제2악장 50
• 3. 제3악장 59
• Ⅳ. 결론 및 제언 78
• 참고문헌 80
• Abstract 83