베토벤 피아노 소나타에 나타나는 코다(coda) 처리 기법
A Study of Beethoven’s Handlings of the Coda as Seen in His Piano Sonatas
2
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
Although music scholars have researched a musical form, particularly sonata form for over 200 years, they tended to downplay structural roles of the final formal unit, “coda.” A close inspection of the music dictionaries reflects such a tendency that roles of the coda in the sonata form have been devaluated in comparison to the proceeding sections. However, recent studies from a Schenkerian perspective reveal that the 18th-century standpoint of the coda, in which one understands it simply as a rhetorical appendix to the proceeding main body, experiences a modification and supplementation. The goal of this article is to study Beethoven’s unique ways of handlings the coda by examining sonata-form movements from his piano sonatas. For this task, I have reviewed concepts of the coda by Heinrich Schenker, Robert Hopkins, John Rink, etc. and then taken Joseph Kerman’s monumental study as a point of departure for the stylistic analysis of Beethoven’s piano works. I distinguished distinctive functions of the coda in first movements of Op. 2/3, Op. 53, and, Op. 81a, and third movement of Op. 31/2, by espousing critically Kerman’s opinions on distinctive roles of the coda. The analytic result proves that codas of each work carry quite different functions: in Op. 2/3, Beethoven put structural significance into the coda by interpolating it between divided codettas; in Op. 53, the coda serves as strategic place that dissolves accumulative large-scale dissonance; and Op. 81a, and Op. 31/2 take the coda as a peroration containing diverse motivic reworking processes.
Abstract
Although music scholars have researched a musical form, particularly sonata form for over 200 years, they tended to downplay structural roles of the final formal unit, “coda.” A close inspection of the music dictionaries reflects such a tendency that roles of the coda in the sonata form have been devaluated in comparison to the proceeding sections. However, recent studies from a Schenkerian perspective reveal that the 18th-century standpoint of the coda, in which one understands it simply as a rhetorical appendix to the proceeding main body, experiences a modification and supplementation. The goal of this article is to study Beethoven’s unique ways of handlings the coda by examining sonata-form movements from his piano sonatas. For this task, I have reviewed concepts of the coda by Heinrich Schenker, Robert Hopkins, John Rink, etc. and then taken Joseph Kerman’s monumental study as a point of departure for the stylistic analysis of Beethoven’s piano works. I distinguished distinctive functions of the coda in first movements of Op. 2/3, Op. 53, and, Op. 81a, and third movement of Op. 31/2, by espousing critically Kerman’s opinions on distinctive roles of the coda. The analytic result proves that codas of each work carry quite different functions: in Op. 2/3, Beethoven put structural significance into the coda by interpolating it between divided codettas; in Op. 53, the coda serves as strategic place that dissolves accumulative large-scale dissonance; and Op. 81a, and Op. 31/2 take the coda as a peroration containing diverse motivic reworking processes.
참고문헌 (30)
- 송무경, "조성음악의 분석이론. 음악이론과 분석", pp.55~92 (2005), 심설당
- 송무경, "음악분석의 즐거움과 효용 : 베토벤 피아노 소나타 op31", 2 <폭풍> 1악장에 대한 두 가지 이야기 분석, 2005, pp.8(2), 9~36[DOI]
- 이희승, "국어대사전" (1994), 민중서림
- Bullivant, Roger, "Coda. In The New Grove Dictionary of Music and Musicians", pp.82~ (2001), Grove’s Dictionaries Inc.
- Caplin, William, "Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven" (1998), Oxford University Press
- Caplin, William, "The Classical Cadence: Conceptions and Misconceptions", Journal of the American Musicological Society, 57(1), pp.51~117 (2004)
- Cavett-Dunsby, Esther, "Mozart's Codas", Music Analysis, 7(1), pp.31~51 (1988)
- Die Koda in der Sonatenform Beethovens. Bericht uber den Internationalen Beethoven-Kongress, "Chodkowski, Andrzej", ~ (1973)
- Dahlhaus, Carl, "Approach to His Music" (1991), Clarendon Press, Oxford University Press
- Dahlhaus, Carl, "Nineteenth-Century Music" (1989), University of California Press
- Green, Douglass, "Form in Tonal Music. 조성음악의 형식" (1998), 수문당
- Hopkins, Robert, "When a Coda is More Than a Coda: Reflections on Beethoven. In Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer", pp.393~410 (1988), Pendragon
- Kamien, Roger, "Aspects of the Recapitulation in Beethoven Piano Sonatas", Music Forum, 4, pp.195~235 (1976)
- Kerman, Joseph, "Notes on Beethoven’s Codas, in Beethoven Studies", pp.141~159 (1982), Cambridge University Press
- Kinderman, William, "Beethoven" (1995), University of California Press
- LaRue, Jan, "Guidelines for Style Analysis" (1992), Harmonie Park Press
- Plantinga, Leon, "Romantic Music: A History of Musical Style in Nineteenth-Century Europe" (1984), W. W. Norton & Company Inc.
- Randel, Don, "Coda. In The New Harvard Dictionary of Music", pp.178~ (1986)
- Ratner, Leonard, "Key Definition-A Structural Issue in Beethoven’s Music", Journal of the American Musicological Society, 23(1), pp.472~483 (1970)
- Rink, John, "Structural Momentum’ and Closure in Chopin's Nocturne Op. 9, No. 2. In Schenker Studies" (1999), Cambridge University Press
- Rosen, Charles, "Classical Style: Haydn, Mozart, and Beethoven" (1997), Norton
- Rosen, Charles, "Sonata Forms. 다양한 소나타 형식" (1995), 수문당
- Schenker, Heinrich, "Organic Structure in Sonata Form. In Readings in Schenker Analysis and Other Approaches", pp.38~53 (1977), Yale
- Schenker, Heinrich, "Free Composition" (1979), Longman
- Janet Schmalfeldt, "Form as the Process of Becoming: The Beethoven-Hegelian Tradition and the ‘Tempest’ Sonata", Beethoven Forum, 4, pp.37~71 (1995)
- Smyth, David, "Codas in Classical Form: Aspects of Large-Scale Rhythm and Pattern Completion", 박사, pp.1985
- Song, Moo Kyoung, "The Evolution of Sonata-Form Design in Ludwig van Beethoven’s Early Piano Sonatas, WoO 47 to Opus 22", 박사, pp.2002
- Spitzer, Michael, "The Significance of Recapitulation in the ‘Waldstein Sonata", Beethoven Forum, 5, pp.103~117 (1996)
- Tovey, Donald F, "A Companion to Beethoven’s Pianoforte Sonatas: Bar-by-Bar Analysis" (1931), Associated Board of the Royal Schools of Music
- Webster, James, "Sonata Form. In The New Grove Dictionary of Music and Musicians", pp.687~698 (2001), Grove’s Dictionaries Inc.