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숨겨진 구조 : Hepokoski & Darcy의 소나타 이론을 적용한 베토벤 《영웅교향곡》의 제시부 분석

An Analytical Study on Beethoven's Eroica Symphony Exposition

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Even though we are familiar with the term ‘Sonata form,’ in many cases we remain using compendious descriptions on themes and key structures when analyzingSonata-allegro movements. Through a close reading of Elements of Sonata Theory by Hepokoski and Darcy, this paper examines features of the exposition and seeks for the possibility in applying their terminologies and methodologies to an analytical discussion of Beethoven's Eroica Symphony. This latest Sonata theory provides an opportunity to interpret the exposition of the piece with an innovative perspective, which reads the second theme of the exposition from m. 87 to m. 109 as a Tri-modular Block (TMB). Furthermore, this paper includes a critique of certain ideas regarding the end of the second theme in the writings of Schenker as well as Hepokoski and Darcy. Ultimately, this paper aims to scrutinize the Sonata theory which puts emphasis on closuressuch as the Medial Caesura (MC) and Essential Expositional Closure (EEC) in the exposition.

Abstract

Even though we are familiar with the term ‘Sonata form,’ in many cases we remain using compendious descriptions on themes and key structures when analyzingSonata-allegro movements. Through a close reading of Elements of Sonata Theory by Hepokoski and Darcy, this paper examines features of the exposition and seeks for the possibility in applying their terminologies and methodologies to an analytical discussion of Beethoven's Eroica Symphony. This latest Sonata theory provides an opportunity to interpret the exposition of the piece with an innovative perspective, which reads the second theme of the exposition from m. 87 to m. 109 as a Tri-modular Block (TMB). Furthermore, this paper includes a critique of certain ideas regarding the end of the second theme in the writings of Schenker as well as Hepokoski and Darcy. Ultimately, this paper aims to scrutinize the Sonata theory which puts emphasis on closuressuch as the Medial Caesura (MC) and Essential Expositional Closure (EEC) in the exposition.

참고문헌 (17)

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  2. 정이은, "아돌프 베른하르트 마르크스의 음악형식론 연구", 석사, pp.2007
  3. Anson-Cartwright, Mark, "Concept of closure in tonal music: A critical study", Theory and practice, 32, pp.1~17 (2007)
  4. Caplin, William E., "Classical Form: A Theory for Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven" (1998), Oxford University Press
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  6. Caplin, William E., "James Hepokoski & James Webster. Musical Form, Forms and Formenlehre" (2009), Leuven University Press
  7. Green, Douglass M., "Form in Tonal Music: An Introduction to Analysis" (1965), Holt, Rinehart, & Winston
  8. 박경종, "조성음악의 형식" (1990), 삼호출판사
  9. Hepokoski, James, "Beyond the Sonata Principle", Journal of the American Musicological Society, 55(1), pp.91~154 (2002)
  10. Hepokoski, James, "The Medial Caesura and Its Role in the Eighteenth-Century Sonata Exposition", Music Theory Spectrum, 19(2), pp.115~154 (1997)
  11. Hepokoski, James, "Elements of Sonata Theory: Norms, Types, and Deformation in the Late-Eighteenth-Century Sonata" (2006), Oxford University Press
  12. Peter H. Smith, "Brahms and Schenker: A Mutual Response to Sonata Form", Music Theory Spectrum, 16(1), pp.77~103 (1994)
  13. Rosen, Charles, "Sonata Forms" (1988), W. W. Norton
  14. 강순희, "다양한 소나타 형식" (1995), 수문당
  15. Rothstein, William, "Phrase Rhythm in Tonal Music" (1989), Schirmer
  16. Schenker, Heinrich, "Free Composition. Trans. and ed. Ernst Oster" (1979), Longman
  17. Schenker, Heinrich, "The Masterwork in Music: A Yearbook vol. 3" (1997), Cambridge University Press

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