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KCI등재 학술저널

모차르트 음악에 나타나는 다성음악과 화성음악의 혼합양식

The Hybrid Form of Polyphonic and Homophonic Styles in the Music of Mozart

“The Hybrid Form of Polyphonic and Homophonic Stylesin the Music of Mozart”While homophonic textures are favored, polyphony is still important to the composers of the latter 18th century. There are many instances of contrapuntal writing within the framework of larger homophonic forms of the 18th-century. The mixture of the galant and the learned remains as the guiding principle throughout the century. This mixture provides textural contrast to the prevailing melody/accompaniment. In 1770s there were movements lying between the incidental use of counterpoint and the strict application of polyphony. Such “hybrid” forms often take on a sonata-fugue, or rondo-fugue structure.Mozart first fuses fugatos in sonata and rondo movements in the fugue-finale to Mozart's String Quartet in G major K.387(1782). In the first fugato he adopts for his subject and its countersubject the alla breve theme of the bounded style. This is contrasted with the joyful gavotte theme. The “hybrid” form develops more sophisticatedly in his later fugue-finale such as in Jupiter Symphony, String Quintet K.593, and K.614. In these movements Mozart binds the galant style to the strict by holding onto the balanced structure of melodic phrase, rather responsorial than closely imitative texture, and the clearly divided points of imitation by the perfect cadence. The fusion of two styles not only gives the extreme contrast to the movement, but also provides theatrical tension by applying the counterpoint and the combination among diverse voices.

서론

1. 18세기 후반의 다성음악 양식

2. 모차르트 다성음악 양식의 변천

결론

참고문헌

[Abstract]

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