J.S.Bach Cello Suite No.1의 춤곡형식과 바로크 시대 음악어법 연구 = A study on the Dance Suite Form and the Musical Language of the Baroque Era in J.S.Bach Cello Suite No.1

다국어 초록 (Multilingual Abstract)

This study aims to comprehensively investigate the Dance Suite Form and the Musical Language (Musikalische Rhetorik) of the Baroque era in J.S. Bach’s Cello Suite No.1, BWV 1007, and to deduce practical implications for performance interpretation. Composed during Bach’s Cöthen period (1717-1723), this work is considered a monumental piece that elevated the cello from primarily a basso continuo instrument to a solo instrument with profound artistic potential. The research confirms that while adhering to the standard Baroque suite structure-Allemande-Courante-Sarabande-Minuet-Gigue-Bach transcended these dance forms, transforming each movement into an independent artistic statement. Critically, each movement not only imitates a dance but also embeds rhetorical logic, corresponding to the structure of a persuasive oration. lPrelude: Functions as the Exordium (Introduction), using Anaphora (figure repetition) and Climax (climax) to create a sense of persuasive declaration. lAllemande: Represents the Narratio (Narration), employing the Suspirato (sigh) figure to present a calm, logical, and introspective discourse. lSarabande: Serves as the emotional core of the suite, expressing deep contemplation and lamentation through the rhetoric of silence (Ellipsis) and Exelanmatio (exclamation). lGigue: Acts as the Peroratio (Conclusion), using Perpetuum Mobile (perpetual motion) to deliver a dynamic and conclusive sense of liberation. In conclusion, this study establishes that Bach’s Cello Suite No.1 is a masterpiece where formal discipline (dance suite) and creative expression (muscial rhetoric) intersect. It confirms the work as “speaking music” (Musica Poetica) that conveys the composer’s musical discourse and emotional narrative, providing contemporary performers with an essential framework for interpretation that integrates Historically Informed Performance (HIP) practices with rhetorical analysis.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1.1 연구의 배경 및 목적 1
• 1.2 선행 연구 분석 1
• 1.3 연구 방법 및 범위 3
• 1.4 연구의 의의 3
• Ⅱ. 이론적 배경 4
• 2.1 바로크 시대의 음악적 맥락 4
• 2.2 모음곡(suite)의 역사와 구성원리 4
• 2.3 바로크 음악 수사학(Rhetoric)의 개념과 발전 6
• Ⅲ. J.S.Bach와 Cello Suite No.1 개요 7
• 3.1 J.S.Bach의 쾨텐 시기와 무반주 첼로 모음곡 7
• 3.2 BWV 1007의 악장 구성 및 기본 형식 8
• Ⅳ. 분석을 통한 연주 해석의 실제 9
• 4.1 각 악장의 수사학적 해석과 연주 전략 9
• 4.2 바로크 시대 연주 관행(HIP)의 적용 가능성 17
• 4.3 현대적 해석의 다양성과 음악적 책임 18
• Ⅴ. 결론 19
• 5.1 연구 요약 및 결과 19
• 5.2 연구 의의 및 한계 20
• 5.3 향후 연구 과제 21