It is generally agreed that the musical genius of Mozart is best represented by his operas. One of the contributing factors of such tribute is the perfect combination of the musical and extra-musical elements in these works. The purpose of this essay is to find out such combinations in his opera, The Marriage of Figaro. Upon examining the opera, two extra-musical elements are emerged conspicuously: the social position and the physical movement. The former is primarily symbolized by the dance rhythms traditionally associated with certain social classes. The latter is easily translated into the musical movements. Once their musical transformation is accomplished, both of them are treated the same as any other musical elements. In other words, the extra-musical elements give intuitive impetus for the raw musical ideas, while the musical logic takes over the development of such ideas. Mozart's greatness lies on the fact that he achieved perfect combination and balance between these two elements, the intuition and the logic. Such combination can be exemplified by the sonata form process which parallels the dramatic process. Frequently a dramatic conflict and its resolution matches the contrasting keys in the exposition which will be resolved to tonic in the recapitulation. Such larger structural concerns are balanced by Mozart's attention to the minute details. This seems to be the reason why his operas have been constantly performed and studied.

Ⅰ. 독창 
1. 피가로 
2. 수잔나 
3. 백작 부인 
4. 케루비노 
5. 백작 
6. 다른 등장 인물들 
Ⅱ. 이중창 
1. No. 1과 2: 피가로, 수잔나 
2. No. 5: 마르첼리나, 수잔나 
3. No. 14: 수잔나, 케루비노 
4. No. l6: 백작, 수잔나 
5. No. 20: 수잔나, 백작 부인 
Ⅲ. 삼중창 
1. No. 7: 수잔나, 바질리오, 백작 
2. No. 13: 백작, 백작 부인, 수잔나 
Ⅳ. 육중창 
Ⅴ. 앙상블 피날레 
1. No. 15: 2막 피날레 
2. No. 22: 3막 피날레 
3. No. 28: 4막 피날레 
Ⅵ. 합창 
Ⅶ. 레시타티브 
부록 
참고문헌 
영문초록

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