베토벤의 교향곡 5번 1악장의 악구 구조 분석 연구

Abstract

Although the motif behind Beethoven's Symphony No.5, Op.67 “Fate” has been used by many composers, it is not yet as intimately expressed as in this piece. Richard Wagner’s thesis, 「[Opera and Drama (Oper und Drama)」, quotes, “Mozart starts his symphony with the whole melody and arranges in counterpoint by dividing the melody into smaller parts. Beethoven’s most memorable pieces starts with these finely divided melodies and as it develops, builds up a grand and astonishing building in our presence…” This paper studied the main materials of Beethoven’s composing; the measure, motif, phrase, passage and furthermore through the research of 18th century music theorists and looked into the process associating with the dance. The structure of dance songs developed from regular and irregular phrases made up of even measures, to formalized four movement structures including minuets in the late 18th century however Beethoven moves away from this form and develops the first movement in a unique way. Unlike using an empty measure to keep the Classical structure, the length of the fermata in the first movement takes the role of three measures and becomes the basis of understanding the overall structure of the first movement. Through the first movement of Symphony No.5, this paper analyzed how the characteristics of the phrase can deconstruct the structure of the phrase and how this becomes a new form of structure.