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      숨겨진 구조 -Hepokoski & Darcy의 소나타 이론을 적용한 베토벤 《영웅교향곡》 의 제시부 분석- = An Analytical Study on Beethoven`s Eroica Symphony Exposition

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      https://www.riss.kr/link?id=A77009000

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      다국어 초록 (Multilingual Abstract)

      Even though we are familiar with the term `Sonata form,` in many cases we remain using compendious descriptions on themes and key structures when analyzingSonata-allegro movements. Through a close reading of Elements of Sonata Theory by Hepokoski and Darcy, this paper examines features of the exposition and seeks for the possibility in applying their terminologies and methodologies to an analytical discussion of Beethoven`s Eroica Symphony. This latest Sonata theory provides an opportunity to interpret the exposition of the piece with an innovative perspective, which reads the second theme of the exposition from m. 87 to m. 109 as a Tri-modular Block (TMB). Furthermore, this paper includes a critique of certain ideas regarding the end of the second theme in the writings of Schenker as well as Hepokoski and Darcy. Ultimately, this paper aims to scrutinize the Sonata theory which puts emphasis on closuressuch as the Medial Caesura (MC) and Essential Expositional Closure (EEC) in the exposition.
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      Even though we are familiar with the term `Sonata form,` in many cases we remain using compendious descriptions on themes and key structures when analyzingSonata-allegro movements. Through a close reading of Elements of Sonata Theory by Hepokoski and ...

      Even though we are familiar with the term `Sonata form,` in many cases we remain using compendious descriptions on themes and key structures when analyzingSonata-allegro movements. Through a close reading of Elements of Sonata Theory by Hepokoski and Darcy, this paper examines features of the exposition and seeks for the possibility in applying their terminologies and methodologies to an analytical discussion of Beethoven`s Eroica Symphony. This latest Sonata theory provides an opportunity to interpret the exposition of the piece with an innovative perspective, which reads the second theme of the exposition from m. 87 to m. 109 as a Tri-modular Block (TMB). Furthermore, this paper includes a critique of certain ideas regarding the end of the second theme in the writings of Schenker as well as Hepokoski and Darcy. Ultimately, this paper aims to scrutinize the Sonata theory which puts emphasis on closuressuch as the Medial Caesura (MC) and Essential Expositional Closure (EEC) in the exposition.

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      참고문헌 (Reference)

      1 박경종, "조성음악의 형식" 삼호출판사 1990

      2 김연, "음악이론과 분석" 심설당 2005

      3 정이은, "아돌프 베른하르트 마르크스의 음악형식론 연구" 서울대학교 대학원 2007

      4 강순희, "다양한 소나타 형식" 수문당 1995

      5 Hepokoski, James, "The Medial Caesura and Its Role in the Eighteenth-Century Sonata Exposition" 19 (19): 115-154, 1997

      6 Schenker, Heinrich, "The Masterwork in Music: A Yearbook vol. 3" Cambridge University Press 1997

      7 Caplin, William E., "The Classical Cadence: Conceptions and Misconceptions" 57 (57): 51-117, 2004

      8 Rosen, Charles, "Sonata Forms" W. W. Norton 1988

      9 Rothstein, William, "Phrase Rhythm in Tonal Music" Schirmer 1989

      10 Caplin, William E., "James Hepokoski & James Webster. Musical Form, Forms and Formenlehre" Leuven University Press 2009

      1 박경종, "조성음악의 형식" 삼호출판사 1990

      2 김연, "음악이론과 분석" 심설당 2005

      3 정이은, "아돌프 베른하르트 마르크스의 음악형식론 연구" 서울대학교 대학원 2007

      4 강순희, "다양한 소나타 형식" 수문당 1995

      5 Hepokoski, James, "The Medial Caesura and Its Role in the Eighteenth-Century Sonata Exposition" 19 (19): 115-154, 1997

      6 Schenker, Heinrich, "The Masterwork in Music: A Yearbook vol. 3" Cambridge University Press 1997

      7 Caplin, William E., "The Classical Cadence: Conceptions and Misconceptions" 57 (57): 51-117, 2004

      8 Rosen, Charles, "Sonata Forms" W. W. Norton 1988

      9 Rothstein, William, "Phrase Rhythm in Tonal Music" Schirmer 1989

      10 Caplin, William E., "James Hepokoski & James Webster. Musical Form, Forms and Formenlehre" Leuven University Press 2009

      11 Schenker, Heinrich, "Free Composition. Trans. and ed. Ernst Oster" Longman 1979

      12 Green, Douglass M., "Form in Tonal Music: An Introduction to Analysis" Holt, Rinehart, & Winston 1965

      13 Hepokoski, James, "Elements of Sonata Theory: Norms, Types, and Deformation in the Late-Eighteenth-Century Sonata" Oxford University Press 2006

      14 Anson-Cartwright, Mark, "Concept of closure in tonal music: A critical study" 32 : 1-17, 2007

      15 Caplin, William E., "Classical Form: A Theory for Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven" Oxford University Press 1998

      16 Peter H. Smith, "Brahms and Schenker: A Mutual Response to Sonata Form" 16 (16): 77-103, 1994

      17 Hepokoski, James, "Beyond the Sonata Principle" 55 (55): 91-154, 2002

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      학술지 이력

      학술지 이력
      연월일 이력구분 이력상세 등재구분
      2022 평가예정 재인증평가 신청대상 (재인증)
      2019-01-01 평가 등재학술지 유지 (계속평가) KCI등재
      2016-01-01 평가 등재학술지 유지 (계속평가) KCI등재
      2012-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2009-01-01 평가 등재학술지 선정 (등재후보2차) KCI등재
      2008-01-01 평가 등재후보 1차 PASS (등재후보1차) KCI등재후보
      2006-01-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
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      학술지 인용정보

      학술지 인용정보
      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0.23 0.23 0.16
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0.15 0.19 0.506 0.42
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