In the early twentieth century, many eastern European composers show the pervasive absorption of structural melodic characters of folk sources into more abstract contemporary music idioms. Pitch structure in that century music has become more explicit in recent analytic writings. Scriabin derived his compositional materials from more abstract sources that were identical to those found in the folk sources. Scriabin moved towards an increasingly systematic handing of pitch set constructions. This paper proposes a theoretical model for a study of collection in post tonal music. It is the aim of this paper to focus on collection in Scriabin's Op. 58, Feuillet d'album(1909). His output is often split into three periods. : Op. 1-29, Op. 30-57, and Op. 58-74. Op. 53-58 pieces are of primary importance in Scriabin's transition to atonality. It is precisely between the second and third periods that something very important happened in Scriabin's musical mind. In particu]ar, his Op. 58 was written while Scriabin was composing Prometheus. The composition employs 6-34 : in a sense the piece is a study of the properties of 6-34, with which Scriabin wad the preoccupied. The most famous variety of this chord is known as the Mystic, or also as the Prometheus as it is ubiquitous in that work. It should be emphasized that Scriabin's small pieces stand in a special relationship to his larger works. Thus the links between his last are strong, as will be seen in the course of this paper.

제1장 서 론 
제2장 조 중심적 음악과 집합류 6-34 
2.1 조 중심적 음악의 체계 
2.2 스크리아빈의 신비화음과 집합류 6-34 
2.3 스크리아빈 음악의 이론적 의의 
제3장 조 중심적 음악 분석의 이론적 모델 
3.1 스크리아빈의 전환기적 작품의 특징 
3.2 스크리아빈의 작품 58, Feuillet d'album 분석 
3.2.1 Feuillet d'album의 조 중심성 
3.2.2 Feuillet d'album의 집합구조 
제4장 결 론 
참고문헌 
영문초록

• 최원선