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천은미,신동진,송무경 연세대학교 음악연구소 2022 음악이론포럼 Vol.29 No.2
Carl Philipp Emanuel Bach’s keyboard concerto has been overlooked in music history and theory despite its historical and stylistic significance. As symphony and sonata form were getting more attention in the Classical period, solo concerto was regarded as a derivative genre of symphony. Moreover, the double exposition in Mozart’s piano concerto became the standard in the solo concerto genre, which excluded former concerto types in history. After the recovery of Emmanuel Bach’s musical asset in Kiev in 1999, his music got a lot of attention from North American scholars. In accordance with their recognition, this study reviewed theoretical studies on Emmanuel Bach’s keyboard concerto form and modified their approaches. By analyzing some of Emanuel Bach’s keyboard concertos, we tested Shelley Davis’s three concerto-form models devised in the 1980s and provided two additional models. As a result, this study traces the history of keyboard concertos and emphasizes the formality and originality of Emmanuel Bach’s keyboard concertos.