모차르트 음악에서 나타나는 반음계적 진행에서의 화성적 대립과 모순
Harmonic conflict and contradiction shown in Mozart's Chromaticism
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Abstract
Since Mozart completed his String Quartet, K. 465, "Dissonance" in 1785, many theorists have argued chromaticism and dissonance shown in Adagio. They have been mainly interested in the false relation such as A3 and A5 in the beginning of the Adagio creating harmonic conflicts. However, harmonic conflicts are more extendedly used between two opposed modes, major and minor, or two different kinds of 7th chords, diminished 7th chords and dominant 7th chords. For example, dominant 7th and diminished 7th chords have three common tones and one semitone motion, but they include major 3rd and minor 3rd from their roots respectively. When one chord alternates with the other showing harmonic conflicts, it is necessary to analyze with enharmonic interpretations, which lead to harmonic contradiction. This paper explores harmonic conflict and contradiction shown in the development section of the 1st and 4th movements as well as Adagio.
참고문헌 (7)
- Bent, "A Particularly Remarkable Passage in a Strin Quartet in C by Mozart with an introduction ber eine besonders merkwrdige Stelle in einem Mozart'schen Violinquartett aus C In Music Analysis in the Nineteenth Century", pp.157~83 (1994), Cambridge University Press
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- Moreno, Jairo, "Subjectivity, Interpretation, and Irony in Gottfried Weber's Analysis of Mozart's ＂Dissonance＂ Quartet", 25(1), pp.99~120 (2003)
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