There is no doubt that pitch intervals are crucial for cognition and memory. For instance, Deutsch (1969) claims that it is easier for us to remember the absolute pitch of the each and every component tones, and, in fact, most people traspose tunes so easily that it is extremely difficult for them not to do so. In most melody studies, therefore, the focus has been on pitch organization. However, pitch intervals are not the only material in a melody and even a simplest pattern of a melody is not merely a collection of intervals. That is, although pitch intervals are very important in a melody, there are other factors as well which must be involved in forming a melody, such as rhythm, note-grouping and harmonic background. The basic assumption underlying the present paper is that music is more than a "collection" of independent elements, but is a "fusion" of those, and, therefore, the separation of one parameter from others (e.g. the extraction of pitch material) is only theoretically, not perceptually, possible. In a melody, for instance, it is impossible for listeners to hear only pitch intervals at one time and hear only rhythms at the next time. People perceive a melody as "a continuous single entity" and that is the very notion of "melodic contour." Then, what is the smallest unit in a melodic contour? From the viewpoint that a melody is not a static object, but a dynamic process through time, there cannot be any independent symbol which can be seperable from its context. In a Mozart melody, for instance, a leap can be a big event and provoke "tension" to the listners. The same progression within a different context, say,in Webem's pointilistic works, the same-interval leap would not provoke any tension. One does not listen note by note or interval by interval. The minimal perceptual unit of the first movement of Beethoven's Fifth Symphony would be the initial four-note motif rather than the individual pitches or interval in the motif. In most melodies, there are such patterns of progression that replicate sequentially. In the present paper, the sequential replication of pitch movement (up and down) is called a "pitch pattern," and that of time organization (long and short), "time pattern," These two respective patternings are essential in a melody, but one does not perceive them as separate. Sometimes there can be conflicts between the pitch and time periodicities that makes the melody "ambiguous" in terms of the clear distiction of phrases. These two patternings, as the wrap and woof, weave the melodic fabric, and what we perceive is the weaved fabric (a product per se), not the weaving procedure or the rules of weaving. The current trend of the scholarship focused on melodies (in both music theory and cognitive psychology literature) can be summarized, in a word, as "pitch-centrism." "Melody" is often considered as "pitch succession," melodic interval is commonly regarded as "pitch interval." and melodic contour is generally confused with "pitch contour." The inter-dependency beween pitch and time domains demands the study on the interactive process between the two different variables, without which the perception of a melody is impossible, and only possible is either the perception of pitch or that of time.

Ⅰ. 선율과 선율윤곽 
Ⅱ. 선율윤곽의 형성 
Ⅲ. 선율윤곽의 인식과 기억 
Ⅳ. 선율윤곽의 구성요소와 단위 
Ⅴ. 구조화의 원리와 계층성 
Ⅵ. 맺음말 
참고문헌 
영문초록

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