Chromatic Third Relations through a Formative Device in L. V. Beethoven’s Piano Sonata Op. 106 Hammerklavier
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My primary argument concerns Beethoven’s use of third relations in the Piano Sonata in B flat major, Op. 106, Hammerklavier: the expansion of third relations from motive to tonal structure. This paper addresses the questions of how Op. 106 reveals changes in tonal structure and the form in which these changes appear. Independent sections appear throughout Op.106, forming a unit that creates the entire work’s tonal structure. It is assumed in this work that grasping the shape and structure of these independent sections would be a means by which to grasp the tonal structure of the entire work. Therefore, the basic unit of independent, repeated phrases is considered to be a “formative device,” a concept borrowed from Marie Rule, with the intention of considering this formative device to form a tonal framework that enables the establishment of third relations. By examining the shape and direction of the formative device appearing within Op. 106, the effect of the formative device on the formation of third relations’ tonal structure can be practically considered. In this way, this paper aims to go beyond the critical, in-depth consideration of existing research on Beethoven’s use of third relations in Op. 106 to examine the possibility of viewing formative devices within the structural stage of tonality.
Abstract
My primary argument concerns Beethoven’s use of third relations in the Piano Sonata in B flat major, Op. 106, Hammerklavier: the expansion of third relations from motive to tonal structure. This paper addresses the questions of how Op. 106 reveals changes in tonal structure and the form in which these changes appear. Independent sections appear throughout Op.106, forming a unit that creates the entire work’s tonal structure. It is assumed in this work that grasping the shape and structure of these independent sections would be a means by which to grasp the tonal structure of the entire work. Therefore, the basic unit of independent, repeated phrases is considered to be a “formative device,” a concept borrowed from Marie Rule, with the intention of considering this formative device to form a tonal framework that enables the establishment of third relations. By examining the shape and direction of the formative device appearing within Op. 106, the effect of the formative device on the formation of third relations’ tonal structure can be practically considered. In this way, this paper aims to go beyond the critical, in-depth consideration of existing research on Beethoven’s use of third relations in Op. 106 to examine the possibility of viewing formative devices within the structural stage of tonality.
참고문헌 (18)
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