D.Kabalevsky의 「Piano Sonata No.3, Op.46」에 대한 분석 연구

다국어 초록 (Multilingual Abstract)

Kabalevsky is a composer who has written music relatively flat in compliance with the musical policy of the federal government of Soviet, his native country.
He composed practical music that both the performers and the audience can easily understand and sympathize with, by writing works using lyrical and brilliant techniques based on the traditional Russian folk songs.
In addition, representing contemporary music artists advocating the socialist realism, he kept a traditional framework and tried new composing skills in it in the confusing circumstances under which the art received political repression at that time. In addition, he wrote music with an attitude of educators rather than simply as a composer, recognizing the importance of music for children. Accordingly, he aroused artistic curiosity and interest for the children to have attention to music voluntarily, and his children's music has greatly influenced on the music education of Russia.
The following findings were obtained in the present study through such Kabalevsky's「Piano Sonata No. 3, Op. 46」.
First, in terms of format and structure, he was basically a diatonicist, using both diatonic and chromatic scales and mixing major and minor to pursue classical format as well as conservative attitude conserving the tradition. The work takes a traditional sonata form but shows the pattern off the original classical sonata form, and well blended with the features of modern music. It consists of three movements, with each movement in sonata allegro form and the two-part lied form, and a rondo sonata form. Second, in terms of composition, harmony and melody, his favorite compositional technique of mixing major and minor in the same work provides a mood of non-violent dismantling of the composition; all the chords in the harmonic part consist of minor scales in the downward progress of chromatic scales, defining the features of Kabalevsky's style. In addition, major and minor scales cross frequently and unison form is used frequently also to emphasize the sounds and figures. Relatively common features of connections that use scales and broken chords in the sonata allegro form of the first movement, except for the chromatic chord progressions and successively altered chords that appear in the connecting part of the first theme and the second theme. Other features are that the composition of the melody is relatively clear, but that the overall composition is obscure due to the added chords in the melody, and that the unity is demonstrated that connects the entire song to one by repeated presentation of the theme melody of the previous movement in the next movements. It is expected that the findings of the above analysis would be a help in understanding and playing of Kabalevsky's「Piano Sonata No. 3, Op. 46」.

목차 (Table of Contents)

• Ⅰ. 서 론 1
• 1. 연구의 목적 1
• 2. 연구의 범위와 방법 2
• Ⅱ. 본 론 3
• 1. 러시아의 근대음악 3
• 2. 카발레프스키의 생애와 작품세계 7
• 3. 카발레프스키「피아노 소나타 제 3번, Op. 46」에 대한 분석 13
• 1) 제 1악장 (Allegro con moto) 13
• 2) 제 2악장 (Andante cantabile) 45
• 3) 제 3악장 (Allegro giocoso) 56
• Ⅲ. 결 론 84
• 참고문헌 86
• Abstract 89