쇼팽의 스케르초 Op. 31의 조성과 모티브 변화에 관한 분석 연구
An Analytical Study of Directional Tonality and Motivic Networks in Chopin’s Scherzo, Op. 31
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초록
본 논문은 동적인 조성(directional tonality), 즉 곡을 시작하는 조성과 끝나는 조성이 다른 특징을 보여주는 쇼팽의 두 번째 스케르초 Op. 31을 분석한다. 본문에서는 먼저 이 스케르초에 대한 쉔커(Schenker)의 해석과 크렙스(Krebs)의 또 다른 해석을 바탕으로 하여, 이 작품을 Bb단조와 Db장조로 각각 해석할 수 있는 가능성과 각 해석에 따른 유용성에 대해 논의한다. 또한 중간 부분 A장조의 기능에 주목하면서 각 부분의 조성 관계를 어떻게 이해할 것인가에 관해 살펴본다. 아울러, 작품 전체에 걸쳐 두드러지게 나타나는 두 가지의 모티브가 Bb단조에서 Db장조로의 조성 변화에 상응하여 점차 어떻게 발전하는지 분석한다.
Abstract
Tonal derivation or dissolution has been regards as a trait of music by a number of nineteenth-century pieces. Among them, this study examines tonal and motivic structure of Chopin’s Second Scherzo, Op. 31, which features directional tonality. In examining this scherzo, I will take a starting point of analyses of this work by Schenker (1979) and Krebs (1991) and compare them, since this work requires a multiple analytical point of view in terms of tonal structure. Based on their analyses, I will proceed to discuss tonal relationships of each section, focusing on Chopin’s choice of A major for the middle section. While a Db-major reading relates Bb minor and A major as VI and bVI, the semitone relationship between these two keys suggests a possible underlying Bb-minor reading as well. Furthermore, a large-scale connection between them is supported by the semitone motives evolved throughout the scherzo. The semitone motives are arranged in such a manner as to intensify the change of tonal direction from Bb minor to Db major.
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