Configuration of Modulations in Theme and Transition Sections in Beethoven Op 110 Piano Sonata Part One


KUTERDEM H. L.

JOURNAL OF EDUCATION AND FUTURE-EGITIM VE GELECEK DERGISI, no.12, pp.175-184, 2017 (Peer-Reviewed Journal) identifier

  • Publication Type: Article / Article
  • Volume: Issue: 12
  • Publication Date: 2017
  • Journal Name: JOURNAL OF EDUCATION AND FUTURE-EGITIM VE GELECEK DERGISI
  • Journal Indexes: Emerging Sources Citation Index, TR DİZİN (ULAKBİM)
  • Page Numbers: pp.175-184

Abstract

Started his musical training at an early age, Ludwig van Beethoven has become one of the composers who made his mark in the classical period with his extraordinary skills and training. The composer has approached the musical theories of his time in a more innovative manner and he has made innovations in harmony, form and modulation concepts with his music. One of the most fundamental reasons of these innovations and diversification is the impacts of the French Revolution which are also evident in his works, because Beethoven has found himself right in the middle of this revolution and this dragged him to ideological innovations quite different than other composers of the time. Musical historians emphasize that these innovations have occurred in the medieval and maturity period of the composer. Although the impacts of W. A. Mozart was felt before his maturity period, Beethoven's innovative impacts have started to be more evident and stand out in his every other work. It is said that op. 24 Spring Sonata and op.28 Piano Sonata that he composed in 1801 are significant representatives of these impacts. Op 110 Piano Sonata is also one of the maturity period works of Beethoven and it is one of the three piano sonatas that he has composed between 1821 and 1822. It displays the basic elements of sonata form in itself and it consists of 3 main parts. The titles of these parts are Moderato cantabile moltoespressivo, Allegro molto and Allegro ma non troppo.In this study, the modulation structures in theme sections and transition bridges of the first section in Moderato cantabile moltoespressivo character structure will be discussed. Modulation structures are one of the most fundamental composition elements which preserves the dynamism and freshness and ensures continuity of a work. It is observed that these structures have acquired a different aspect in Beethoven's character compared to the perception of the time. This study will shed light to how the contrast concept which is considered as one of the important elements in composition material is used in modulation sections of Op 110 Piano Sonata and its necessity in piano training.