쇼팽의 《발라드》 Op. 23의 형식에 관한 고찰
A study on formal aspects of Chopin's ballade Op. 23
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Fryderyk Franciszek Chopin attempted a large-scale composition using a new philosophy of composition in the Ballade in G minor, Op. 23, revealing his efforts to find new structural designs for his music. The paper examines formal characteristics of this ballade which, up to the present, have not been accounted for thoroughly. The author deals with this composition from the angle of sonata-allegro form and three-part song form in reference to Schenker. An alternative interpretation is then presented to illuminate aspects worth paying attention to but not described in earlier formal analyses. By analyzing this ballade as having dual arch form, this paper tries to add new viewpoints useful in interpreting various features of this piece. This reading is a process of looking for the answer to a question of how to approach the work when the author listens to or performs this ballade. This piece has its own logic, and is deliberately structured in an organized way, even while each section is entangled; the question is how to account for and represent this logic. This paper examines the dual arch form of this work, and discusses the potential of analysis to provide diverse interpretations at the same time.
Abstract
Fryderyk Franciszek Chopin attempted a large-scale composition using a new philosophy of composition in the Ballade in G minor, Op. 23, revealing his efforts to find new structural designs for his music. The paper examines formal characteristics of this ballade which, up to the present, have not been accounted for thoroughly. The author deals with this composition from the angle of sonata-allegro form and three-part song form in reference to Schenker. An alternative interpretation is then presented to illuminate aspects worth paying attention to but not described in earlier formal analyses. By analyzing this ballade as having dual arch form, this paper tries to add new viewpoints useful in interpreting various features of this piece. This reading is a process of looking for the answer to a question of how to approach the work when the author listens to or performs this ballade. This piece has its own logic, and is deliberately structured in an organized way, even while each section is entangled; the question is how to account for and represent this logic. This paper examines the dual arch form of this work, and discusses the potential of analysis to provide diverse interpretations at the same time.
참고문헌 (15)
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