고전주의 소나타형식의 발전부에서 나타나는 거짓재현의 다양한 양상들
The Various Aspects of False Recapitulation in Sonata-form Movements in the Classical Era
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본 연구는 하이든, 모차르트, 베토벤의 작품 중 발전부에서 거짓재현이 등장하는 소나타형식의 곡들을 대상으로 하여 이 작품들에서 나타나는 거짓재현의 다양한 양상을 살펴본다. 무엇보다도 본 연구자들은 발전부에서 나타나는 거짓재현이 발전부와 재현부의 단락적 구분에 영향을미친다는 점에 주목하여 거짓재현의 양상에 따라 소나타형식이 2부분적 관점에서 점차 3부분의구조로 파악될 수 있음을 작품 예를 통해 제시하고자 하였다. 이에 따라 발전부에서 거짓재현이출현하는 지점과 조성 및 형태를 살펴볼 뿐 아니라 재현부 직전의 딸림화음의 강도를 거짓재현앞의 딸림화음과 비교하고, 이러한 분석과정을 통해 빈 악파의 소나타형식 악곡에서 발전부와재현부의 구분이 점차 명확해지는 변화를 고찰한다. 본 연구는 소나타형식에 관한 논의에서상대적으로 적게 논의되어 온 발전부를 음악 실제에 기대어 보다 구체적으로 살펴보고, 빈 악파의소나타형식 악곡에서 나타나는 발전부의 다양한 스펙트럼을 보여준다는 점에서 의의를 갖는다.
Abstract
This study examines the works in sonata form by Haydn, Mozart, and Beethoven in which false recapitulation occurs in the development section, and discusses various aspects of false recapitulation in these works. We note that the false recapitulation in the development section affects the sectional division of the development and the recapitulation, and suggest through musical works that the sonata form can gradually be understood as a three-part structure from a two-part structure depending on the features of false recapitulation. Accordingly, this study not only explores the location, key, and melodic and harmonic design of the false recapitulation in the development section, but also compares the intensity of the dominant chord before the recapitulation with the dominant chord before the false recapitulation. Through this process, we investigate how the sectional demarcation between the development and recapitulation sections gradually becomes distinct in the works in sonata form by the first Viennese School. This research sheds light on the development section, which has been relatively less well studied, in relation to musical practice, and contributes to the discussion of the diverse spectrum of development sections in the works in sonata form by the Viennese School.
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