J.S.Bach의 Flute와 Cembalo를 위한 Sonata g단조 BWV 1020 분석연구

Abstract

ABSTRACT

The Study on the J. S. Bach's Sonata for Flute and Cembalo in g minor BWV 1020

Jang du - hee Advisor : Prof. kim hye-keong Department of Music, Graduate School of Chosun University

The term, Baroque Music is applied to the music of about 150 years period from 1600 to 1750 when Bach died, and it is called as Baroque Era from 17th Century to mid 18th Century in the music history. Different to Renaissance Music which attached important to form, Baroque Music which put emphasis on the expression of abundant emotion has musical features of enlarged musical structure and the co-development of both vocal music and instrumental music. This musical form was for the players rather than audience and was created by attaching weight to chamber music. Representative composer of late Baroque era, Johann Sebastian Bach (1685-1750) composed numerous pieces of church music and secular instrumental works of music. He composed total 8 pieces of Flute music including 4 pieces of Sonata for Flute and Cembalo, 3 pieces of Sonata for Flute and Basso Continuo, and 1 piece of Solo Flute Sonata, and all of these were composed in Cöthen where he used to compose chamber music. In this study, we analyzed Sonata for Flute and Cembalo in G Minor by Bach for its melody, harmony, developing lines and playing style of each form in every movement. As for the form, the 1st movement is composed of 2 parts form of A - B – Coda, and each part of A and B has its own prelude and interlude. The 2nd movement is composed of 3 parts form of A - B - A' including short Codetta. The 3rd movement is composed of 121 bars and 2 parts form of A - A' including Codetta in each part. As for the melody, each movement suggests a theme melody and this theme melody is repeated, imitated, transformed and developed. As for the harmony, each movement is mostly composed of basic procedure but the 1st and 2nd movements have Secondary Dominant and Neapolitan Sixth respectively for adding hue on the music, and the 3rd movement has a lot of modulation used for frequent change in key. As for developing method, imitation and sequence methods which are the features of contrapuntal style were frequently used. Finally for the playing style, this work used sequence playing style a lot and poco a poco cresc. is used for ascending lines while poco a poco dim. is applied for descending lines. When a theme is repeated, f and p are applied to express the contrast of stresses. Also, repeated staccato of the same note shall be played shortly and clearly and with increasing stress. For good rendition, musicians should study composer’s intention and recognize it correctly before delivering the music.