모차르트 피아노협주곡 K. 453, 1악장 : 버거(Berger)의 "구두점 형식"(Punctuation Form)을 중심으로 Analysis based on Berger's "Punctuation Form" = The First Movement of Mozart's Piano Concerto K. 453

다국어 초록 (Multilingual Abstract)

Solo concerto became predominant over concerto grosso and the keyboard became the most preferred instrument for the solo concerto during the Classic period. At the same time, the traditional approach to the formal aspect in the concerto first-movement underwent decisive changes. Yet the textural contrast was still the basic principle to determine the form.
H. C. Koch, in one of the most comprehensive composition treatises of the period, Versuch einer Anleitung zur Composition (1782-93), provides the most detailed description of concerto form to appear in the latter part of the 18th century. Koch first describes the opening movement in terms of textural divisions, i. e. an alternation of tutti and solo section. The core of the structure is formed by the three solos and the ritornellos are labeled as secondary section. Koch equates the three solo sections of the form with the three principal divisions of sonata form, i.e. exposition, development, and the recapitulation.
The idea that the concerto first-movement as a modification of the sonata form took the definitive form by the late nineteenth-century English theorist, Ebenezer Prout. Prout in his Applied Forms(1895) describes the first movement as a modified sonata form with a distinctive formal deviation known as the “double exposition.” Until well into the twentieth century, scholars and theorists understood the concerto first movement of the late 18th century between earlier description of a simple ritornello form and the later idea of a concerto as a modified sonata form.
Karol Berger, in his article “The First-Movement Punctuation Form in Mozart's Piano Concertos,” approached the concerto first-movement according to the principle of punctuation. Berger's “punctuation form” is based on the rhetorical idea that music as a discourse is articulated like speech into a hierarchy of parts by means of stronger and weaker cadences. Musical composition is the hierarchical organization of phases, which is developed by a degree of cadences.
According to the punctuation form, the first movement of Mozart's piano concerto, K. 453, is divided into two parts. Each part consists of two periods; the first part is divided into the first and second period; the second part into the third and fourth period. Each period is divided into two sections except for the third period. Each section consists of two phrases, sometimes with an added closing phrases. The punctuation structure of K.453/i shows that only three cadences deviate from the normal patterns systematized by Berger. At the boundaries of the phrases, which is the smallest unit of musical discourse in Berger's theory, theme, harmony, and voice(solo versus tutti) as well as dynamics and texture collaborate to produce the sense of punctuation. Analysis solely in terms of one or the other formal type will result in a distorted impression of the work. When the punctuation form is combined with the structural principle of ritronello and sonata form, the punctuation plays the central role in the interaction of voice, harmony, and theme and the first-movement of Mozart's piano concertos best be understood.

목차 (Table of Contents)

• 들어가면서
• Ⅰ. 모차르트 피아노협주곡 제1악장의 구두점형식(Punctuation Form)에 대하여
• Ⅱ. 구두점형식에 의한 K.453, 1악장의 분석
• Ⅲ. 구두점형식과 리토르넬로형식 및 소나타형식의 결합
• 맺으면서
• 참고문헌
• Abstract