While composers in the Classical period fundamentally focused on compositional techniques of repetition and alteration of motives, W. A. Mozart not only further refined these techniques to make large-scaled ‘singing’ melodies but also developed his own distinguished ones beyond the scope of traditional motivic work. Moreover, although the existing studies on Mozart’s thematic melodies have widely admitted the importance of Mozart’s distinguished melodies, they have more narrowly focused on a specific work or the first movement. Especially, no studies have investigated all the slow movements of his keyboard sonatas as a whole to systematically analyze distinguished characteristics of Mozart’s compositional techniques. Therefore, this study attempts to analyze them systematically classifying compositional techniques of Mozart’s thematic melodies into three groups of motive(s)-based, variation-based, and through-composed ones.

This study focuses on an analysis of the Song cycle Reisebuch aus den österreichischen Alpen(op.62) by Ernst Křenek(1900-1991). When Křenek composed this Song cycle in 1929, the Orchersterlied had become a main genre in the 20th concert program and since Pierrot lunaire, Lied accompanied by a chamber ensemble elevated its position high in vocal music creation. Therefore, the conventional 19th century art song with piano accompaniment tradition had not continued into the 20th century. Křenek completed 31 art songs in his life. And this means a lot in the history of 20th century art song. Another fact that Křenek was of great importance in the history of 20th century art song is that he composed five Song cycles. Among these, four are based on his own poem, and the other one is Reisebuch aus den österreichischen Alpen. Composing Song cycle on his own poem verify the fact that Křenek was a person of a literary turn of mind and he faithfully followed the Song cycle tradition of the 19th century in purpose of unfolding a story based on one theme. Křenek’s Reisebuch aus den österreichischen Alpen consists of 20 pieces(19 songs and an Epilog added later) and is modeled on Wienterreise by F. Schubert. The Romantic inclination appeared in this Song cycle is the use of consistent rhythmic pattern in the song number eight ‘Unser Wein’, the pattern also favored by Schubert’s piano pieces. As Schubert described disenchantment of love in hisWienterreise, the fact that Křenek depicted his own hapless love for his homeland in this Song cycle is also considered to be a reflection of Romantic tendency. Křenek recapitulated the theme of the first song in the song number nineteen ‘Heimkehr’ and this is compared to the construction of Schumann’s Song cycle Frauenliebe und -leben. There are several factors in this Song cycle that continued the 19th century art song tradition, musical aspects of the cycle contain various contents of the 20th century. Twenty songs can be divided into two categories according to musical language: songs in Romantic musical languages are song number one ‘Motiv’, number seven ‘Regentatg’, number eight ‘Unser Wein’; songs in Expressionism musical languages are song number eleven ‘Alpenbewohner’, number twelve ‘Politik’. There are songs with text simply describing apparent impressions of journey such as song number two ‘Verkehr’, number three ‘Kloster in den Alpen’, and number six ‘Friedhof im Gebirgsdorf’. But those which put psychological, moral, social, and political contents into text are song number five ‘Traurige Stunde’, number nine ‘Rückblick’ and number twelve ‘Politik’. The close relationship between text and musical languages are conformed through the analyses.

The German popular music in the 19th century is the music, which is accepted in several citizen groups, on opposite to nobility society. With the emergence of capitalism and change of political situation produced the populace their own music of those life culture and distributed it in music market. But the evidence of independence of the popular music from art music of the aristocratic group is verificated in those antipathy and menace to the music of civil groups and those intention to classification their own music culture to the one of the populace. Eventually the meaning of german popular music in the 19th century is the new musical and cultural approach of the citizen group, who passively accepted and is known of unrefined and simple music, which is expression of emotions of uneducated people. Furthermore, it is important that the german popular music in the 19th century holds the ‘functional sociality’ changing the society than the lack of the artistry which the art music had.

누구나 초·중·고등학교 정규 교과 과정을 통해 음악의 구성 원리, 음악의 실제와 관련된 여러 가지 규칙과 이론을 배운다. 이러한 이유로 ‘음악의 기초이론’ 하면 어렴풋이 떠올리는 것은 정규 교과과정중배웠던음계, 화음, 조성 등일것이다. 이와같은용어들은‘기초이론’을뜻하는용어임 에 틀림없다. 하지만 ‘기초이론’의 범위는 이를 배우려는 목적과 용도에 따라 의외로 광범위하다. 관련 서적 역시 이를 반영하는 듯 지은이의 집필 목적, 교육 의도, 교육 방향 등에 따라 다루는 내용이 다르다. 음악을 배우는데 있어 기초이론의 중요성은 아무리 강조해도 지나침이 없다. 클렌다이닝은 음악 전문가나 음악관련 종사자에게 기초이론의 습득은 그가 가지고 있는 지식을 잘 활용할 수 있도록 하며 전문적 지식을 넓혀 준다고 주장한다. 대중문화에 민감한 시대에 살고 있는 우리는 늘여러가지소리에둘러싸여있다. 우리를둘러싼소리, 음향, 대중음악등을다양한자료로음악의 기초이론과연계시킨다면누구나음악의구성 원리를 좀더쉽게 배우고 즐길수있을것이다. 이에 대한일환으로 이글의본론에서는우리에게익숙한음향과음원에서기초이론이활용된예를발췌 하여분석해보았다. 전공생들을 위하여그리고음악애호가들을위하여‘음악의기초이론’은무엇을 어떻게 가르쳐야 하는가? 이 글이 그 해답을 생각해 보는 계기가 되었으면 한다.

"The Arts of Music" in a scientific and humanistic approach for the department of science and engineering starts with a basic premise that music courses established as liberal arts in college should focus on certain topics instead of an introduction to the study. That is, the intent of this study was to show that music as liberal arts in college could achieve more efficient and rational operation and generate greater educational effects when being integrated into certain topics based on its connections with other majors. Presenting a concept of music history, appreciation, and theory combined together, "The Arts of Music" was designed to increase the thinking abilities and emotional expressive skills of students in the Department of Science and Engineering and offer an ideal course in the line of correlations between music and science in the approach of humanities and social science. The lecture schedule of "The Arts of Music" was determined to include 32 hours over total 16 weeks according to the undergraduate school. Each of the four topics, which were mathematics, natural science, space science, and applied science, would have four weeks. The first category would cover correlations and interactions between music and mathematics within their relations including the creation of notes according to the vibration rate, Roman numeral analysis to analyze music chords in numbers, and the acoustic features of the Baroque Period represented by figured bass. The second category would cover natural science and music, presenting The Four Seasons by Vivaldi, The Pastorale Symphony by Beethoven, Raindrops by Chopin, and Winterreise by Schubert. The third one would cover space science and music. Music began to be discussed in the principles of celestial bodies in the literature of Middle Ages. There is man in the universe, and man creates music. Adopting the philosophy, the study talked about stories about space science in music history. The topic featured Pierre Lunaire by Schoenberg, Clair de Lune by Debussy, and The Planet by Holst. The final category would cover applied science meeting music, dealing with various changes caused by the impact of electricity and electronics on music. Its examples include Sinfonia by Berio, Ionisation by Varese, and modern versions of Canon by Pachelbel arranged by many pop musicians. The teaching method-based approach will help the students in the Department of Science and Engineering increase their interest and participation in lectures, efficiently cultivate artistic and humanistic culture, and develop the ability of seeing music from a humanistic perspective, thus recognizing that music language can be a means of enriching their lives.