브루크너 교향곡의 제1악장 제시부에 나타나는 제3주제의 형식적 특징과 양상
Formal Aspects of the Third Expositional Theme in Anton Bruckner’s Symphonic First Movements
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초록
본 연구는 그 독특성에도 불구하고 그 실체에 대한 연구가 미비했던 브루크너 소나타 형식의제3주제를 분석적인 측면에서 재조명한다. 특히 최근 음악이론계의 논쟁적인 개념인 ‘종결주제’ 와 관련한 논의들을 살펴보면서 브루크너의 제3주제가 이와 관련하여 어떻게 이해될 수 있는지점검하고 브루크너의 제3주제가 다른 주제들과 어떠한 측면에서 구별되는지 또 그 특성이 각각의 사례에서 어떻게 드러나는지 내부적 형식 구성과 조성 계획의 관점을 중심으로 분석하였다. 이를 통해 전체적으로 센텐스 형식의 논리가 담고 있는 직선적 방향성의 형식 구문론이 브루크너의 제3주제군을 지배함을 확인할 수 있었으며 특히 후기 교향곡으로 갈수록 제3주제군이 제시부의 거시적 조성 계획에 중요한 역할을 담당하는 것을 관찰할 수 있었다.
Abstract
This study provides an analytical investigation of the third theme in Bruckner’s symphonic sonata exposition, which has been under-researched despite its uniqueness. By examining recent music-theoretical debates regarding the controversial notion of ‘closing theme,’ I explore how Bruckner’s third theme can be understood in this context. This leads to an investigation of how it distinguishes itself from other themes and how its characteristics manifest in various cases, especially in terms of internal formal structures and tonal plans. The analysis reveals that the linear directionality and momentum of the sentence form predominantly dictates Bruckner’s third-theme group, particularly observing its increasing significance in the exposition’s overarching tonal plot in his later symphonies.
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