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Alban Berg의 <Piano sonata Op.1>분석 연구
In this paper, I looked at how Berg‘s musical usage has been expressed through Piano Sonata Op.1. First, in terms of formality, this Sonata is a simple piece. The music is composed of 4 movements, these are an Exposition, a Development, a Recapitulation and a Coda. This is a classic Sonata-Allegro style. Even though the music was written by Schönberg in 1908, it is still bound by the classic outline. Second, because the music is composed in B minor, it sounds atonal. The first theme is made with b minor but the second theme is made with A major. Then the song ends with regular mode. This shows that the music is still bound by the classic Sonata-Allegro style. Third, in terms of harmony, an extreme chromatic scale and atonality are present throughout the entire piece. Fourth, Berg's early work in Piano Sonata Op.1 is repetitive. It modifies the theme tune using A, B, and C of imitation, dislocation, distortion, reduction and expansion. It shows Wagner's Leitmotiv which uses flows of music to maximize rhythm. The use of such melody with counterpoint or repeating techniques contributes to the unity as a whole in this piece. So far, I have learned that the Piano Sonata Op.1 is still bound by the classic form and harmonized with atonality, delineation of passion, and romance. In this paper, analysis of Berg's formation of atonal music, I hope that I can help you understand Berg‘s music. Berg’s music shows new possibilities for the contemporary music in the 20th century to move forward by keeping the classic form while showing atonality and description of passion and romance. I sincerely hope that this paper will help those who learn Berg‘s music and his works so that they can improve their understanding and playing of his music.
알반 베르크의 보수적·낭만적 성향에 관하여 바이올린 협주곡을 중심으로
Berg, Alban 한양대학교 대학원 2001 국내석사
알반 베르크는 쇤베르크, 베베른과 더불어 12음기법 음악을 창출한 『제 2비엔나 악파』의 일원이다. 그러나 베르크는 다른 두 작곡가와 다르게 그의 초기음악 시기, 심지어는 12음음악 시기에도 슈만과 말러에게서 이어받은 낭만적 특징들을 보여주고 있다. 그의 마지막 완성작인 바이올린 협주곡에서 베르크는 3화음을 내포하고 있는 12음음열을 사용하며 그것과 함께 민요와 코랄을 교대로 사용한다. 본 논문은 이 베르크의 12음음악에서 다음과 같은 점을 살펴봄으로써 그 안에 나타나는 보수적인 면모를 찾아보고자 하였다. 첫째, 12음음열의 조성적 함축, 둘째, 12음음열의 다양한 적용방법, 셋째, 고전적 악구구조와 대칭적인 형식, 넷째, 바하 코랄의 베르크식, 바하식의 화성화의 교대, 다섯째, 전 악장을 통한 음악적 재료의 순환기법 등이다. 베르크의 바이올린 협주곡은 그의 낭만적, 보수적 면모를 볼 수 있는 가장 대표적인 곡 중의 하나이다. 본 연구를 통하여 이 곡은 새로운 양식과 과거의 양식과의 조화를 위한 끊임없는 경향을 보여주고, 또한 대조되는 음악적 재료들을 조합하여 곡 전체에 통일성을 부여하는 그의 창조적인 천재성과 기법이 잘 드러나는 곡이라는 것을 알 수 있었다. Alban Berg is one of the members of the『Second Viennese School』 with Arnold Schoenberg and Anton Webern, which created the twelve-note technique. Unlikely with the other two composers, Berg preserved Romantic features of Schumann and Mahler in his earlier and even in his dodecaphonic periods. In his last complete work, Violin Concerto(1935), Berg alternately employs the folk tune and chorale with the resources of a twelve-tone series, albeit one with strong triadic implications. This paper focused on the conservative characters in his twelve-tone work through examining: tonal implications of the twelve-tone series; various ways of employing twelve-tone series; classical phrase structure and symmetrical form; alterations of the harmonizations of J. S. Bach's chorale both in Berg's and Bach's style; cyclical reprise of the same material in all movements. The study shows that the Violin Concerto is one of the representative works to study Berg's Romantic and conservative features. The Concerto provides Berg's constant tendency of the connection between the new style and that of the past, and also it displays his inventive genius and easy mastery of the unifying technique with the contrastive materials throughout the work.