「Beethoven Symphony No.5」in c minor Op.67 의 분석연구 : 지휘관점으로 본 제Ⅰ，Ⅲ악장의 마디그룹 구조를 중심으로

다국어 초록 (Multilingual Abstract)

(Abstract)
The Analysis and study on「Symphony No. 5」
in C minor (Op.67) by L. Beethoven
- Focusing on the Measure Group Structure
from a Conductor's Viewpoint -
Lee, Chang Young
Department of Music
Graduate School of Dankook University
Advisor：Professor Choi, Seungsik
After 18th century, in European music theory, a “phrase” was recognized as
typically a four-bar melody. However, into the 19th century, as the structure of the
phrase was reduced, expanded, or even eliminated, it increasingly became an
irregular form and the phrasing of the music diversified. In particular, in fast-tempo
pieces that are conducted as one measure as one-beat, the irregularity of the
measure groups that appear frequently resulted in a shift in the beginning point
of the melody or the dynamics, a variation in the phrase, and the ambiguity of
the tonality, which led to various different opinions on the interpretation of the
piece. Therefore, in this thesis, the structure of the measure group that appears
in the first and third movement of Ludwig van Beethoven's Symphony No. 5
was analyzed from the conductor's perspective and was analyzed so that it could
be used for the interpretation of the piece.
In the structure of the measure group of the first movement, the key element
that both indirectly and directly influences the harmony, rhythm, melody, etc. is
the motif of the first two measures. This motif develops in two measures/bars,
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and the first measure group is two-bars of descending third motif, and the
second measure group adds a bar of half note that descending second the first
measure group, resulting in an irregular 2+3 structure. This kind of measure
group is focused on the development and coda.
Although the third movement is not specified as “scherzo”, the compound
ternary part form that contains a trio is formed as a typical scherzo. By varying
the structure of the measure group with more diverse techniques than in the first
movement, the modifications in the phrase and the contrapuntal composition
prominently displayed the characteristics of scherzo.
The unique phrase structure of the third movement can also be identified in
the irregular phrasing that accompanies the changes in tempo. While in the first
theme of the third movement, irregularity is presented through the change in
tempo which influences the measure group and the phrase, in the second theme,
by modifying the rhythm of the motif that appeared in the first movement it
gives not only an organic coherence to the whole symphony, but by using
phrases of a regular length, it creates a contrasting effect of the two themes in
the third movement. Furthermore, its uniqueness can be found in that it formed
a trio by being the center/core of the motif which is presented as a low-tone
instrument. In particular, the structure in the coda where there is no pause
between the movements and there is a key change amidst a dramatic tension
which connects to the fourth movement can be said to be a representative piece
that demonstrates Beethoven’s innovativeness.
The measure groups that appear modified in various ways in the first and
third movement impact the phrase structure in the piece’s development process
and moreover operates as an important element in the overall interpretation of
the piece. Therefore, from a conductor's perspective, it is anticipated that by
closely analyzing the form of these measure groups and understanding the
structure of the melody, a foundation to base the actual performance of
Beethoven’s Symphony No. 5 can be established.

국문 초록 (Abstract)

(국문초록)
「Beethoven Symphony No.5」in c minor
Op.67 의 분석연구
- 지휘관점으로 본 제Ⅰ，Ⅲ악장의 마디그룹 구조를 중심으로 -
단국대학교 대학원 음악학과
연주(관현악지휘)전공
이 창 녕
지도교수： 최 승 식
18세기 이후 유럽의 음악이론에서 프레이즈(Phrase)는 네 마디 단위의 선율이 기본
적인 것으로 인식되어 왔다. 그러나 19세기에 접어들면서 악구의 구조는 축소되거나
확장, 또는 생략되면서 점차적으로 불규칙적인 형태로 나타나 악곡의 프레이징이 다
양해졌다. 특히, 한 마디를 1박으로 지휘하는 빠른 템포(Tempo)의 작품들은 빈번하게
나타나는 마디그룹의 불규칙성으로 인하여, 선율의 시작점이나 강ㆍ약의 이동 및 변
형된 프레이즈, 그리고 조성의 불확실성 등이 발생되어 악곡해석에 여러 가지 의견
이 제시되기도 하였다. 따라서 이 연구에서는 베토벤(Ludwig von Beethoven,
1770-1827)의 「교향곡 제 5번」(Symphony No.5)의 제 1, 3악장에서 나타나는 마디그
룹(Measure group)의 구조를 지휘자의 관점에서 분석하여 악곡 해석에 적용 될 수 있
도록 하였다.
제 1악장의 마디그룹 구조에서 화성과 리듬, 그리고 선율선 등에 직ㆍ간접적으로
영향을 미치는 결정적인 요인은 첫 두 마디 모티브다. 이 모티브는 두 개의 마디그
룹으로 전개되는데, 첫 번째 마디그룹은 G-Eb의 하행3도 음형의 두 마디이며, 두 번
째 마디그룹은 첫 번째 마디그룹을 2도 하행하는 동형진행에 2분음표를 한 마디 추
가시켜 2+3의 불규칙적인 구조로 되어 있다. 이런 마디그룹은 발전부와 코다에 집중
- ii -
되어 있으며, 악곡의 전개과정에서 하나의 목표점을 설정하고 진행되는 과정에서 클
라이맥스를 구축하거나 긴장을 지속시키는 역할을 하게 된다.
제 3악장은 ‘스케르쪼’(Scherzo)라고 명시하지는 않았지만, 트리오(Trio)를 가진 복합
3부 형식의 전형적인 스케르쪼로 구성 되었다. 마디그룹의 구조 또한 제 1악장보다
더 다양한 기법으로 변화를 줌으로써 프레이즈의 변형과, 대위적인 구성으로 스케르
쪼의 해학성을 두드러지게 나타냈다.
제 3악장의 독특한 프레이즈 구조는 템포의 변화를 동반하는 주제의 불규칙적인
프레이징에서도 찾아볼 수 있다. 제 3악장 주제 1은 템포의 변화가 마디그룹과 프레
이즈에 영향을 줌으로써 불규칙성이 나타나는 반면, 주제 2는 제 1악장에서 등장했
던 모티브의 리듬을 변형시켜 전면에 사용함으로써 교향곡 전체에 유기적 응집성
(organic coherence)을 주었을 뿐만 아니라, 규칙적인 길이의 프레이즈를 주로 사용함
으로써 제 3악장의 주제 1, 2의 대비 효과를 만들어냈다. 또한, 저음악기로 제시되는
모티브의 중심이 되어 트리오를 구성한 점에서도 특이성이 발견된다. 특히 종결부에
서는, 악장과 악장사이에 휴지부를 두지 않고 극적인 긴장 속에서 조성의 변화와 함
께 제 4악장으로 연결되는 구조는 베토벤의 혁신성을 나타낸 대표적인 작품이라 할
수 있다.
제 1, 3악장에 다양하게 변형되어 나타나는 마디그룹은, 악곡의 전개과정에서 프
레이즈 구조에 영향을 미치고 더 나아가서 작품의 전체적인 해석에 중요한 요인으로
작용한다. 따라서 지휘관점에서 이러한 마디그룹의 형태를 세밀하게 분석하여 선율
의 구조를 파악하는 것은 베토벤「교향곡 제 5번」의 실제 연주에 밑바탕이 될 수
있는 근거를 제공 할 것으로 기대한다.

목차 (Table of Contents)

• 목 차
• 국문요약 ···················································································································· ⅰ
• 목 차 ····················································································································· ⅲ
• 표 목 차 ····················································································································· ⅴ
• 악보목차 ····················································································································· ⅵ
• Ⅰ. 서론 ························································································································· 1
• 1. 연구의 필요성과 목적 ····························································································· 1
• 2. 연구의 방법 및 범위 ······························································································· 2
• Ⅱ. 이론적 배경 ············································································································· 4
• 1. 베토벤의 생애와 작품 경향 ····················································································· 4
• 1.1 생애 ·················································································································· 4
• 1.2 작품 경향 ·········································································································· 8
• 2. 베토벤 교향곡의 개관 및 「교향곡 제 5번」의 창작배경 ·········································· 9
• 2.1 개관 ·················································································································· 9
• 2.2 창작배경 ·········································································································· 13
• Ⅲ. 베토벤「교향곡 제 5번」c minor Op. 67의 분석연구 ················································ 16
• 1. 제 1악장 마디그룹 구조 ························································································· 16
• 1.1 형식 ················································································································· 16
• 1.2 모티브의 전개와 마디그룹 ················································································ 18
• 1.2.1 호프만의 모티브 해석 ················································································ 19
• 1.2.2 쉔커의 모티브 해석 ··················································································· 22
• 1.2.3 호프만과 쉔커의 모티브 해석의 비교 ························································· 26
• 1.3 마디그룹 구조에서 페르마타 표현 ····································································· 29
• 1.4 선율과 화성진행에 의한 마디그룹 ····································································· 40
• 1.4.1 선율진행과정에서 마디그룹 ········································································ 40
• 1.4.2 쉔커와 토비의 아티큘레이션과 마디그룹 ···················································· 42
• 1.4.3 지휘관점으로 본 제 2주제의 마디그룹 ························································ 44
• 1.5 클라이맥스의 구축과정과 연장악구에 의한 마디그룹 ·········································· 48
• - iv -
• 1.6 코다의 마디그룹 ······························································································· 62
• 2. 제 3악장 마디그룹 구조 ························································································· 71
• 2.1 형식 ················································································································· 71
• 2.2 페르마타의 표현과 선율 및 화성에 의한 마디그룹 구조 ····································· 73
• 2.2.1 페르마타의 표현 ························································································ 73
• 2.2.2 선율과 화성진행에 의한 마디그룹 ······························································ 74
• 2.3 선율의 이중구조와 주제의 중첩에 의한 마디그룹 ··············································· 89
• 2.4 트리오의 마디그룹 구조 ···················································································· 95
• 2.5 경과구의 마디그룹 ·························································································· 105
• Ⅳ. 결론 ····················································································································· 113
• 참 고 문 헌 ················································································································ 115
• ABSTRACT ················································································································· 120

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