카푸스틴의 <24 Preludes in Jazz Style for Piano>에서의 형식적 실험

Abstract

Nikolai Kapustin (born in 1937) is a representative of Russia pianists and well-known classical composer and arranger. The <24 Preludes in Jazz Style for Piano>(op.53, 1988) among his various works is one of the most unique collection of piano preludes in the 20th century, due to its combination of classical and jazz musical idiom. This particular work has received explosive responses from the Piano performers and the enthusiastic music lovers, whereas Kapustin’s music is still unfamiliar in Korean music industry. His <24 Preludes> has never been officially researched before my dissertation "An Analytical Study on the 24 Preludes in Jazz Style for Piano, Op. 53 by Nikolai Kapustin"(2012) nor played as a whole. Unlike classical works, the forms in Kapustin’s <24 Preludes> vary from Sonata and Variation to Jazz form and the mixture of various forms. Therefore, for an in-depth performance of Kapustin’s <24 Preludes>, the analytic understanding of its various forms is a prerequisite. With the analysis of the forms in Kapustin’s <24 Preludes>, this paper will show two point. One is that the forms in his <24 Preludes> can be classified into five forms, that is, Sonata form, Variation form, Blues form, Jazz form, and mixed form, for the synthesis of classical and Jazz forms and idioms. And the other is that this forms are carefully planned to be located in particular positions.