조성음악의 주제형식 유형 : 센텐스 구조
A thematic form in tonal music : sentence structure
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참고문헌
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초록
Sentence is a thematic form defined by Arnold Schoenberg as early as 1960s. However, the terms for its structure and formal function have not been properly introduced until recently. It was William Caplin's Classical Form, an award winning book on instrumental music of Classical composers, which provided a detailed description of sentence structure and terminology for its function. This paper first studies definitions in dictionaries, and then traces the conceptualization process of sentence structure by reviewing literatures by theorists such as Arnold Schoenberg, Erwin Ratz, and William Caplin. The paper also studies sentence structure used as an independent theme or a part of a bigger structure, such as a rounded binary structure and a 16-measure period in tonal music. It further reviews relatively new thematic models of hybrid themes suggested by Caplin, and proposes a couple of hybrid theme types not discussed by him. It is obvious that the distinction between period and sentence is necessary and essential to analysis of tonal music.
Abstract
Sentence is a thematic form defined by Arnold Schoenberg as early as 1960s. However, the terms for its structure and formal function have not been properly introduced until recently. It was William Caplin's Classical Form, an award winning book on instrumental music of Classical composers, which provided a detailed description of sentence structure and terminology for its function. This paper first studies definitions in dictionaries, and then traces the conceptualization process of sentence structure by reviewing literatures by theorists such as Arnold Schoenberg, Erwin Ratz, and William Caplin. The paper also studies sentence structure used as an independent theme or a part of a bigger structure, such as a rounded binary structure and a 16-measure period in tonal music. It further reviews relatively new thematic models of hybrid themes suggested by Caplin, and proposes a couple of hybrid theme types not discussed by him. It is obvious that the distinction between period and sentence is necessary and essential to analysis of tonal music.
참고문헌 (14)
- Aldwell, Edward, "Harmony and Voice Leading. 3rd edition", pp.2003, Thomson
- Cadwallader, Allen, "Analysis of Tonal Music, A Schenkerian Approach. 2nd edition" (2007), oxford University Press
- Caplin, William E., "Tonal Function and Metrical Accent: A Historical Perspective", Music Theory Spectrum, 5, pp.1~14 (1983)
- Caplin, William E., "Classical Form:aClassical Form : A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and BeethovenA Theory of Formal Functions for the Instrumental Music of Haydn,Mozart,and Beethoven" (1998), University Press
- Caplin, William E., "The Classical Cadence: Conceptions and Misconceptions", Journal of the American Musicological Society, 57(1), pp.51~117 (2004)
- Green, Douglass M., "Form in Tonal Music" (1979), Holt, Rinehart and Winston
- James Mathes, "The Analysis of Musical Form" (2007), Pearson- Prentice Hall
- Morgan, Robert P, "Symmetrical Form and Common-Practice Tonality", Music Theory Spectrum, 20(1), pp.1~47 (1998)
- Stanley Sadie, "New Grove's Dictionary of Music and Musicians" (2001), Macmillan Publishers Limited
- Schoenberg, Arnold, "Fundamentals of Musical Composition" (1967), Faber & faber
- Ratner, Leonard, "Eighteenth-Century Theories of Musical Period Structure", The Musical Quarterly, 42(4), pp.439~454 (1956)
- Ratz, Erwin, "Einführung in die Musikalische Formenlehre" (1968), Universal Edition
- Ratz, Erwin, "Analysis and Hermeneutics, and Their Significance for The Interpretation of Beethoven", Music Analysis, 3(3), pp.243~254 (1984)
- "Wikipedia."[URL]