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R.Schumann『Carnaval Op. 9』의 표제적 요소에 의한 음악적 특징 분석 원문보기
Research on the musical features by the title elements of R. Schumann『Carnaval Op.9』

  • 저자

    이다나

  • 학위수여기관

    경성대학교 일반대학원

  • 학위구분

    국내석사

  • 학과

    음악학과 피아노

  • 지도교수

    최윤희

  • 발행년도

    2014

  • 총페이지

    v, 67 p.

  • 키워드

    슈만 피아노음악 표제적요소;

  • 언어

    kor

  • 원문 URL

    http://www.riss.kr/link?id=T13535205&outLink=K  

  • 초록

    The representative composer of the 19th century romanticism ganre, Schumann connected various pieces of music into one piece, and represented one collective piece that had an overall correlation. "Carnival", which is discussed in this paper, is the representative piece for this type of music. This music has a subtitle called the "small scene based on 4 notes". Here, the four notes came from the alphabet characters of the town, Asch, where Ernestine von Fricken, whom Schumann thought of getting married to, used to live. These four characters are also included in the name of Schumann himself, and the four notes of A-S-C-H(A-E♭-C-B) were used as the main elements composing the whole music. In this music, Schumann describes the scene of a masquerade carried out on a Passion Sunday, and shows not only the characters of the masquerade, but also the members of the Davidsbundler with a title for each. In this paper, it was analyzed and studied how each of the titles were musically described in Carnival, where the characters' personalities were described by standing fiction and real characters at the same time as making music out of alphabet characters from things like the correlation to Art, the place name or the name that make up the special characteristics of the character props. Especially in Carnival, the significant composition elements of A-E♭C-B through the musical description of alphabet characters appear in: Op.2 'Pierrot' Op.3 'Arlequin' Op.4 'Valse Noble' Op.6 'Florestan' Op.10 'Papillons' and Op.11 'A.S.C.H.-S.C.H.A(Lettres Danasates: Dancing Letters)'. Schuman not only used the sudden changes in the tempo, but also used: a sudden change of dynamics from p to sf; leaping note; grace note; arpeggio; contrasting use of staccato and legato; and the dancing rhythm in triple time to describe the special characteristics of the characters and the atmosphere of the masquerade. Especially, in Op.13 'Chopin', the atmosphere of Chopin's nocturne was described as it is in the original, and in Op. 18 'Paganini', it is well presented the thoughts of Schumann who looked up and yearn for the great techniques of Paganini, the violinist. As such, Schumann led the whole music using various techniques to fit each of the titles. Furthermore, together with the description of the scenes of the masquerade, there is the fair figure of the members of Davidsbundler, who eventually win against philistines, which shows how much Schuman disliked musicians with Philistinism. As such, Schumann expanded the overall story with the titles in Carnival, and used various musical techniques to describe the atmosphere and the characters that fit each of the titles. In this way, it was possible to understand the inner personality and the titling of Schumann represented in the features of the character props.


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