Although music scholars have researched a musical form, particularly sonata form for over 200 years, they tended to downplay structural roles of the final formal unit, “coda.” A close inspection of the music dictionaries reflects such a tendency that roles of the coda in the sonata form have been devaluated in comparison to the proceeding sections. However, recent studies from a Schenkerian perspective reveal that the 18th-century standpoint of the coda, in which one understands it simply as a rhetorical appendix to the proceeding main body, experiences a modification and supplementation. The goal of this article is to study Beethoven’s unique ways of handlings the coda by examining sonata-form movements from his piano sonatas. For this task, I have reviewed concepts of the coda by Heinrich Schenker, Robert Hopkins, John Rink, etc. and then taken Joseph Kerman’s monumental study as a point of departure for the stylistic analysis of Beethoven’s piano works. I distinguished distinctive functions of the coda in first movements of Op. 2/3, Op. 53, and, Op. 81a, and third movement of Op. 31/2, by espousing critically Kerman’s opinions on distinctive roles of the coda. The analytic result proves that codas of each work carry quite different functions: in Op. 2/3, Beethoven put structural significance into the coda by interpolating it between divided codettas; in Op. 53, the coda serves as strategic place that dissolves accumulative large-scale dissonance; and Op. 81a, and Op. 31/2 take the coda as a peroration containing diverse motivic reworking processes.
2. 선별된 베토벤 피아노 소나타에서 코다의 역할과 유형