‘Scherzo’ originally means ‘jest’ or ‘joke’. But the application of the word in music is extensive and often incorrect. There are early instances of its use as a distinctive title. The light Italian canzonets of the 17th century were called ‘Scherzi musicalli’. Later, when each movement of an instrumental composition had to have a distinctive character, the directions ‘Allegrello scherzando’ and ‘Presto scherzando’ become common, several examples occuring in the sonatas of C.P.E. Bach. Coming the period of the syemphony, the presence of the minuet or scherzo in works of that class is a matter of natural selection or survival of the fittest. In the old suites the minuet, being of rather shorter rhythm than the other dances, was exggerated out of all recognition for the sake of contrast. The minuets of many of Haydn’s string quartets exhibit indeed those quaint and fanciful devices of unexpected reiteration, surises of rhythm and abrupt terminations which are the leading characteristics of the scherzo, and are completely opposed to the spirit of true minuet. Beethoven quickly gave the scherzo a permanent position in the symphony and also settled its form and character. But lest the right and airy character of the scherzo should be spoilt by obstrusive mechanics, the greater composers have sought to obscure the from artistically by several devices, the most frequent and obvious being the humorously persistent dwelling on some one phrase, generally the leading feature of the first subject. Chopin (1810~1849) was almost exclusively a composer for the piano. His schievment as creator of music is bound up with his exceptional contribution to the art of pianoforte playing. He laid the foundations for a style of pianism which， developed by Liszt, lasted throughout the 19th century and seems to have played -itself out in the pianoforte writing of Rakhmaninov. Chopin’s pianistic invention was closely related to the improvements in the instruments itself ―the wider ranges of tone, extension of the keyboard, refinements in action. His music depends to a great extent upon the use of the sustaing pedal, or more properly the damper pedal. This mechanism enables the production of greater sonorities than can be sustained by two hands alone, and it also paves the way to more modern effects of mixed harmonies. Most of Chopin’s pieces have an introspective character and within clearly defined formal outlines, contrive to suggest the quality of improvisation. Although he was a concert pianist, he was not an overwhelming, theatrical performer. All his works, however, demand of the player not only a flawless touch and technique but also an imaginative use of the pedals and a discreet application of tempo rubato. The fundamental traits of chopin’s style are displayed on a larger canvas in the ballades and scherzos. Chopin’s scherzos have no trace of this form’s original connotation of playfulness: these are wholly sereous, virile, and passionate works, organized as are the ballades in compact forms that grow naturally out of the musical ideas. The four scherzos for pianoforte were written by Chopin, but they are indeed no joke in any sense and all four are characterized by a wild power and grandeur. As a result of the analytic research on the Scherzo, op. 20 B minor, it may be concluded as like the following. (1) Contrast of dynamics is found in one phrase which we may not see in the previous classical period. (2) In harmony, Chopin used the chromatic harmony, non harmonic tone, free modulation and secondary dominant. (3) Sequence and unison were utilize frequently.
Ⅰ. 서론
Ⅱ. Scherzo op.20의 분석
Ⅲ. 결론