K.D von Dittersdorf D.Bass Concerto in E major

다국어 초록 (Multilingual Abstract)

In this thesis, we have found about the history of the Violin and Viol groups through history and progression of Double Bass.

Additionally, we have found about the instrumental structure of Double bass, the role in Orchestra and as solo playing, the K.D von Dittersdorf D.Bass Concerto in E major.

The structure of Double Bass is near to Violin groups but, it was actually derived from Viol groups, have been changed and developed. After 19 century, it was influenced by Violin groups, therefore, it can not easily say which one exactly influenced to Double Bass.

It would be considered as the blended instrument with the flowing of history from Renaissnace to Modern age.

It had not major position on musical color and role before 18th century.
Because of the aspect, the development of Double Bass was delayed, and the role in Orchestra also small. Double Bass as the low tone instrument of Orchestra was little more conceived early 18th century than before, and then it began to be written on independent melody on score, Double Bass could individual work and peculiar role. Starting with [Beethoven Symphony no.5], Double Bass has solidified their position of Low Instrument.

In 19th century, the retranslation about possibility of Double Bass as a solo performing instrument has begun by research about independent melody and deveolopment. The representative composers who developed and researched this instrument as the solo performing instrument are Dittersdorf, Kousevitsky, Dragonetti, Bottesini etc.

Now, the most important concerto from them is K.D. von Dittersdorf D. BASS Concerto in E major. The simple arrangement is here.

The 1st movement has sonata form with exposition - development - recapitulatuoin - closing. Theme 1st and 2nd are presented, transferred from E major to B major and returned to E major. Under this transfers are rising, theme 1st, 2nd progress without big change. After the closing, the Cadenza section is performed in wide tonal range, include both Theme 1 and 2.

It demands sensitive and simple expression, progresses with various dynamic and many kinds of rhythm.

The 2nd movement also divided as theme 1st and 2nd, syncopation is used. Triplets are progressed on connecting section, and the harmonic melody of the progression is soft and lyrical. The consequential Cadenza, like 1st movement, performed in wide tonal range, more be detailed by 64 notes. It plused elegant by ornaments, and amplified musical effect by various rhythms.

The 3rd movement escaped from normal Rondo Form, progressed as the three section form A - B - A'. It progressed with harmony that varied the 1st theme of 1st movement, in connecting section, it developed with a accompanimental things plused and interacting between sing and accompaniment form than performing.

On the whole, under the three movement were united and has consistency, it has formation that the developing is more and more going on.

Although the Double Bass has more short term of growth in the time and year than other instruments, I think that it has infinitive potential too. At the entrance of modern, the Double Bass is getting spotlight, now, this position is held as a most important instrument that never can except in Orchestra.

Therefore, because of this aspects, the Double Bass' many possibilities of development and researching is remaining, I'm sure that the permanent developments of Double Bass will goes on.

목차 (Table of Contents)

• Ⅰ. 서 론 4
• 1. 연구 주제와 연구 범위 4
• 2. 연구 방법 및 목적 6
• Ⅱ. 본 론 7
• 1. Double Bass의 역사와 발달 과정 7 1) 바이올린족과 비올족 9 2) Double Bass의 연주 방법 13
• 2. 독주와 합주에서의 Double Bass 16 1) Sonata와 Concerto 16 2) 합주에서의 Double Bass 19
• 3. 디터스도르프 [K.D von Dittersdorf] 23 1) 디터스도르프의 생애 23 2) 디터스도르프의 음악 24
• 4. Dittersdorf D.Bass Concerto in E major 분석 26 1) 1악장(Allegro moderato) 27 2) 2악장(Adagio) 37
• 3) 3악장(Allegro) 41
• Ⅲ. 결 론 45
• 참 고 문 헌 47
• ABSTRACT 49