모차르트 음악에서 나타나는 반음계적 진행에서의 화성적 대립과 모순

• 영문명: Harmonic conflict and contradiction shown in Mozart's Chromaticism
• 발행기관: 한국서양음악학회
• 저자명: 안소영
• 간행물 정보: 『서양음악학』제10권 제1호, 197~216쪽, 전체 20쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 2007.01.30

영문 초록

Since Mozart completed his String Quartet, K. 465, “Dissonance” in 1785, many theorists have argued chromaticism and dissonance shown in Adagio. They have been mainly interested in the false relation such as A3 and A5 in the beginning of the Adagio creating harmonic conflicts. However, harmonic conflicts are more extendedly used between two opposed modes, major and minor, or two different kinds of 7th chords, diminished 7th chords and dominant 7th chords. For example, dominant 7th and diminished 7th chords have three common tones and one semitone motion, but they include major 3rd and minor 3rd from their roots respectively. When one chord alternates with the other showing harmonic conflicts, it is necessary to analyze with enharmonic interpretations, which lead to harmonic contradiction. This paper explores harmonic conflict and contradiction shown in the development section of the 1st and 4th movements as well as Adagio.

목차

Ⅰ. 시작하는 글

Ⅱ. 분석

Ⅲ. 맺는 글

참고문헌

키워드

불협화 화성적 대립 화성적 모순 장·단조 혼용 증6화음 선적인 음정패턴 반음계적 진행 연장 이명동음적 화음 반음계적 대사관계 Dissonance harmonic conflict harmonic contradiction mode mixture augmented 6th chord linear intervallic pattern chromatic progression prolongation enharmonic chord false relation