J.S.Bach의 반음계적 환상곡과 푸가(BWV 903)의 연주해석에 대한 연구 = A Reaserch of Interpritation for Playing Piano of J.S.Bach' s Chromatic Fantasy and Fugue

다국어 초록 (Multilingual Abstract)

As we know about, church music on music history is at all time much conservative than secular music. So J.S.Bach's(l685∼1750) music is very traditonal and conservative than the same period other musician as Domenico Scarlatti (1685∼1757), Friedrich Handel (1685∼1759), Antonio Vivaldi(l678∼174l), Georg Philipp Teleman(l681∼1767), because J.S.Bach's composition always from church category and for church formality.
But J.S.Bach's some keyboard works like sonata, concerto, toccata, fantasy is much new style at that period, as simple texture for harmonic character, clearness sturucture for music style, and have familiarity with audience of many public groups.
In other side, his Chromatic Fantasy and Fugue, BWV 903 has much wonderful ideas for new music style with romantic Emfindsammerstile as chromatic harmonic progress and recitative style.
The Fantasia appears to consist of four quite contrasted ideas which at the start are presented in fairly striking two scale line as toccata style, contrast but which, have choral with arpegio throughout the 33 bars, achieve some sort of integration.
We can see successively recitative part with chromatic harmonic progressing as free rhythm style, and Coda like section with the slow desending chromatic progression, it is much important as historical evidence for romantic style after one hundered music field in nineteen century.
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The modulation occurs through a modulating sequence. Strangely enough that means that although the harmony in the first group is more adventurous it is actually more stable than this idea.
This fugue style is more free formal structure, because he use much episode for cantrast music texture, and using arch form with start fugue and final as heavy thematic material.
Although this work have continuity sixteens in the choral with arpeggio, we can see harmonic rhythm clearly, and it's concern to the musical phrasing. J.S.Bach was not only Wonderful gift improvaser but also a careful worker as designer with musical texture.

목차 (Table of Contents)

• 들어가는 말
• 1. 건반용 환상곡(幻想曲, Funtasy)의 발전과 진화
• 2. J.S.Bach의 건반용 판타지(Funtasy)들
• 1) 판타지(Funtasy) in c minor, BWV 919
• 2) 론도를 위한 판타지(Fantasia on a Rondo), in c BWV 918
• 3) 환상곡(Fantasie) C minor, BWV 906
• 4) 판타지와 푸가(Fantasie und Fuge, in a minor) BWV 904
• 5) 판타지, 푸가, 안단데와 스케르쪼
• (Fantasie, Fuge, Andante und Scherzo), BWV 905
• 6) 판타지, Fantasie g minor BWV 920
• 3. 반음계적 환상곡과 푸가(Chromatic Fantasy and Fugue) BWV 903
• 1) 작곡배경
• 2) 악보들
• 3) 반음계적 판타지의 반음계적 화음(和音)들과 화성리듬
• 4) 푸가의 구조와 선율의 취급
• 맺는 말
• 참고문헌
• Abstract