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I. 서론 7

1. 연구의 필요성 및 목적 7

2. 연구의 방법과 제한점 8

II. 본론 9

1. 쇼팽의 생애와 음악적 특징 9

1) 쇼팽의 생애 9

2) 쇼팽의 피아노 작품 12

3) 쇼팽의 음악적 특징 12

2. 쇼팽의 Scherzo 21

1) Scherzo의 정의 21

2) 쇼팽 Scherzo의 형식 23

3) 쇼팽 Scherzo 형식의 구성 24

3. 쇼팽 Scherzo No. 2, Op. 31의 작품분석 26

1) 쇼팽 Scherzo의 음악적 배경 26

2) 쇼팽 Scherzo No. 2, Op. 31의 악곡 구성 27

3) 쇼팽 Scherzo No. 2, Op. 31 분석 28

III. 결론 51

참고문헌 53

ABSTRACT 54

표목차

〈표1〉 쇼팽 Scherzo의 3부분 형식 23

〈표2〉 쇼팽의 4곡 Scherzo 형식과 내용 비교 24

〈표3〉 Scherzo No. 2, Op. 31 악곡구성 27

〈표4〉 Scherzo No. 2, Op. 31의 세부 구성 27

악보목차

〈악보1〉 마주르카 리듬 17

〈악보2〉 쿠아비아크 리듬 17

〈악보3〉 오베레크 리듬 17

〈악보4〉 Mazurka No. 14, Op. 24-1 in g minor 19

〈악보5〉 Scherzo No. 2, Op. 31, 1-24마디 29

〈악보6〉 Scherzo No. 2, Op. 31, 27-43마디 30

〈악보7〉 Scherzo No. 2, Op. 31, 44-64마디 32

〈악보8〉 Scherzo No. 2, Op. 31, 65-129마디 33

〈악보9〉 Scherzo No. 2, Op. 31, 148-149마디, 172-173마디 35

〈악보10〉 Scherzo No. 2, Op. 31, 174-182마디 36

〈악보11〉 Scherzo No. 2, Op. 31, 265-305마디 37

〈악보12〉 Scherzo No. 2, Op. 31, 306-333마디 39

〈악보13〉 Scherzo No. 2, Op. 31, 334-378마디 40

〈악보14〉 Scherzo No. 2, Op. 31, 436-488마디 41

〈악보15〉 Scherzo No. 2, Op. 31, 489-508마디 43

〈악보16〉 Scherzo No. 2, Op. 31, 514-538마디 45

〈악보17〉 Scherzo No. 2, Op. 31, 544-583마디 46

〈악보18〉 Scherzo No. 2, Op. 31, 694-729마디 48

〈악보19〉 Scherzo No. 2, Op. 31, 744-780마디 50

초록보기

Chopin's musical composition was based on the national nationalism of his own country, Poland. He also reflected his homeland's cultural aspects, as well as aspects of his personal life onto his music. The patriotism he felt for his country, his many inspirational exchanges with other musicians in Paris, his deep affection for his partner, and the emotion he felt from his illness were all incorporated into his musical composition. In particular, Chopin composed pieces for the piano with various genres that were unique and that broke away from the trandition, including mazurkas, ballades, polonaises, scherzos, sonatas, preludes, fantasies, etudes, and waltzes. His piano pieces take an important place in not only Romantic era music but also in the works for the piano.

A scherzo is a term that has been used since the Classical period, and refers to one part of a multi-movement musical piece. It adds a hint of humor to the piece. Scherzo was first used by Haydn, but was developed into a three part format of A-B-A by Beethoven who used the scherzo to replace the minuet in his pieces. The scherzo is a form succeeding and expanding the formal structure and content of the minuet in the works of Beethoven, Haydn, and Mozart. It was mainly used for the third movement of a sonata, of symphonies, and of string quartets.

The significance of the scherzo changed during the Romantic era. Chopin as the driving force of this change. He firmly established the scherzo as an independent genre by using it as a medium to express a wide range of emotions, from humor and wit to tragedy and darkness. The structure and scale of the scherzo, too, became larger.

Chopin's scherzo is full with drama that crosses between a vast range of feelings, from passion to calmness, to conflict to tragedy. In terms of structure, he also took more liberty to express various emotions. In terms of content, he was able to capture a hint of wit, humor as well as a more solemn and serious tone, bringing about great progress to the genre of scherzo.

This thesis focuses on Chopin's scherzo No. 2, Op. 31 among his four scherzos. This piece, compared to others, is bolder, more passionate and uses various expressive methods. The piece carries Chopin's signature musical languages of the vast range of dymanic from pp to ff and complex tonal structures.

Consequently, Chopin's scherzo No. 2, Op. 31 maintains the conventional three part structure of A-B-A', representing an introduction, development, recapitulation, and a coda. This structure is closer to that of a sonata. In the A-B-A' structure, A and B are in contrast with each other. The A part presents two contrasting themes: the first theme appears as a form of question and answer from the very beginning of the piece. It composed with a 8-measure motif which repeats 4 times and leads to the transition section. The second theme progresses with a melody line performed by the right hand and an eighth note arpeggio played by the left hand. The quick progression of eigth notes is accompanied by the changing chords and non-harmonic chords, and changes in keys, while the melody part uses a “Bel Canto” method as if singing a lyrical melody to elevate the elegance of the overall piece with the use of tempo rubato. With the structure consisting of scherzo-trio-scherzo, it is a variation of the sonata form.

From the perspective of musical analysis, main motifs can be said to have been repetitively used in the A (scherzo) part, to convey a passionate, quick-paced feeling. The B (trio) part express the same impression as the development part of a sonata, and develops into a new melodic and lyrical theme different from the A (scherzo) part. In the coda, main motifs that had been introduced earlier are all brought together to progress as sequences. The use of marcato on the left hand creates tension, and the piece is brought to a closing with a stretto cadence.

The author tried to understand the characteristics of melody, harmony, rhythm, tempo rubato, pedal, and grace of Chopin, and to investigate his musical methods by the analysis of No. 2 Op. 31 Scherzo based on these in this study. Understanding the music properly upon this analysis before playing Scherzo, the performer can be expected to perform it with Chopin's intention as close as possible

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