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  • L. v. Beethoven  Sonata for Piano and Violin Op.12 No.1ÀÇ ºÐ¼®¿¬±¸   (1 ÆäÀÌÁö)
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ÀÌÀº¿µ, ¡ºL. v. Beethoven, Violin Sonata Áß Àü±âÀÛÇ°ÀÇ ¹ß´Þ°úÁ¤¿¡ °üÇÑ °íÂû¡», ¼­¿ï´ëÇб³ ´ëÇпø ¼®»çÇÐÀ§³í¹®, 1982.
±¹¹ÎÀ½¾Ç¿¬±¸È¸ ¿ª, ¡º¼¼°è ¸í°îÇؼ³ ´ë»çÀü¡», Á¦12±Ç, ¼­¿ï, ±¹¹ÎÀ½¾Ç¿¬±¸È¸, 1978.
¡º¼¼°è¸í°î¹ÙÀ̿ø° ´ëÀüÁý¡», ¼­¿ï, µ¿È­ ÃâÆÇ»ç, 1995.
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A study on L. v. Beethoven Sonata for Piano and Violin Op.12 No.1

Kim, Sae Rang

Department of Music
Graduate School
JEONJU University

Advised by Professor Kim, Kwang Soon

Abstract
As the analyzing of Violin Sonata Op.12 No.1, We got the following result.
Beethoven Sonata Op.12 No.1 was made by three movements which was organized by Allegro, Variation and Rondo.
First, Beethoven composed the parts of Piano and Violin as same level and we could see the character in most of theme.
The tension of melody is raised by use of the varied chord.
As a rule, the harmonic tension appears low and slow.
The repeated rhythm appears many times and the repetition of rhythm has the organic unity.
The contrast of the sensations of rhythmic tension and movement between the themes shows clearly the distinction of the characteristic in each theme.
The contrast of the energetic melody of jumping progress and the beautiful melody of proper progress keeps up the tension and relaxation.
This music added the tension of melody as using of the harmony which was changed, but in general used three major chord of shape which was abdicated and came out the changing of tension of harmony.
The changing of tempo rarely came out in any movement.
The rhythm mainly repeated the similar type and came out the contrasting character of theme by the changing of rhythm and the organic unity.



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Beethoven   Sonata   Piano   Violin   Op   12   No   ºÐ¼®¿¬±¸   Op12   No1  


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