음악분석의 즐거움과 효용 : 베토벤 피아노 소나타 op31/2 <폭풍> 1악장에 대한 두 가지 이야기 분석

Abstract

The paper introduces two analytic essays, which integrate diverse analyses regarding the first movement of Beethoven’s Piano Sonata, Op. 31/2, Tempest. Although both essays are narratives that focus on the structure of the piece, they differ with each other in that the second one adopts Schekerian theory as its departure, whereas the other does not. The paper elucidates that, although all the information obtained through the two methods is equally useful, the Schenkerian method offers an insightful eye by which one could see the internal structure as well as the surface events of music transparently. For the first essay, Leon Plantinga’s and Carl Dahlhaus’s analyses are primarily synthesized. The two contrasting motives’ developing process in the opening theme, improvisational character reflected on the multiple layers of the music, and what Dahlhaus calls “form as a process” are reconsidered in this restructured narrative. The second essay incorporates Roger Kamien’s and Janet Schmalfeldt’s graphs and discusses motivic connections latent in different structural levels, harmonic and formal transformation in the opening and recapitulation. The paper draws a conclusion that Schenkerian perspective makes possible a large-scale examination of a piece and, broadly, an enjoyment of an analysis as a tool of understanding music critically.