The organ, more than any other musical instrument, has assimilated numerous changes and experiments. A number of distinct national styles evolved throughout the history of organ music, spanning almost 2000 years. The classical French organ music, roughly between about 1650 and 1790, and the French organs of that period have developed a unique relationship. The musical textures were perfectly molded to the indigenous characteristics of specified combinations of stops. By 1650, French organ composers had accepted the new musical style which established registration practices for specific musical types on the organs whose specifications had become rather standardized throughout France. Organ music of this period in France became confined to forms which were used by all French organ composers of this period. Registration indications became titles for the pieces. It is fourtunate that many composers of this period wrote detailed instructions, perhaps the most thoroughgoing of any epoch, in the prefaces which they included in their collections of organ music. These instructions provide us with a valuable informations on the interpretation of their music. The organs of our country bear practically no resemblance to the French classical instruments. Therefore, the French organ music was seldom performed and studied. The purpose of this study is to understand the language of this particular style of organ and the performance practice of their music, apply this information to present day organs of our country and help the performers to express the composers' intentions fully in their performances. This study is consisted of observations on French classical organ building, organ music literature, performance practice(registration, Notes Ine´gales, articulation and ornamentation) and finally, an analysis of Francois Couperin's Messe a｀ l'usage des Convents, a typical work of the French classical organ music.

Sujechon is one of the most famous masterworks in korean traditional music. and it is one of the most precious products this country has ever produced. But it has been unknown that when it was composed and that whom it was composed by. It has been generally surmised that it was composed during the Shilla Dynasty. It is important to study the melodic structure of this work in various ways and to establish a model for modernization of the melodic characteristics of Korean traditional music. Firstly, the melodic structure of Dongdong that was a secular song of the Koryo Dynasty and seems to be closely related to Sujechon is dealt with, and. the analytical methods of this work such as using motivic cell and its transformations through intervalic diminutions and permutations continue to be used in the analysis of Sujechon. This paper includes a study of the melodic relationship between Sujechon and bumpae, Buddhist chants, that was imported from China during the Shilla Dynasty and also includes a study of formal structure between Sujechon and secular music of the Song Dynasty that was imported during the Koryo Dynasty.

This paper is an introduction to the musical characteristics of the Korean Shamanic Songs. Although there are many kinds of shamanic ritual muisic in Korea, most important musically are the songs sung by the shaman(mudang). The musical styles of the Koran ritual Songs differ from region to region, and depend upon the functions of the songs within a ritual. However, most ritual Songs are accompaned by some instruments. The shaman may sing sitting and accompanying him-or herself on the changgo(hour-glass drum); hower, the shaman in most cases stands and sings while the accompanists play the instruments. The accompanying instruments used in the Korean shamanic rituals consist of a changgo(hour-glass drum) and a ching(gong), but a taekeum, a piri and haekeum are added in case of the rituals of mid and the southwestern regions. The role of the percussionists is to sing with the shaman in ca｀ll-and-response, while a｀ccompanying him or her or to add vocables to the shaman's song in polyphonic style. The melodic instruments may be performed in unison, but they tend to be performed in polyphony. Most Korean shamainc songs are in triple meter; however, songs in mixed meter are not uncommon, especially those of the eastern regions, few Korean shamanic songs are in duple meter; nonetheless, the southwest regions preserve some, Turning to the melodic mode of the Korean shamanic songs. The mode of the shamanic songs of the eastern regions consists of (e), (g), (a), (c), and (d), in which (e), (a｀), and (c) are the important tones. Most shamanic songs in this area ends on (a) or (e). The melodic style of the ritual songs of the southwest regions is similar to that of the eastern regions, but the mode consists of (e), (g), (a), (b), (c), and (d), in which (e), (a｀), and (b), are the important tones, and the songs end on (a｀). In case of the northwestern regions, the mode of the shamanic songs consists of (d), (e) (g) (a), and (c), in which (d), (a), and (c) are important, and the songs end on (d) or on (a). Finally, the melodic mode of the shamanic songs the midwest areas consists of (g), (a), (c), (d), and (e), and the songs end on (g), or (c).

In 1949, consolidating their previous efforts, Shannon and Weaver published The Mathematical Theory of Communication (i.e. Information Theory), which is, in short, a theory of measuring how effectively a message is transmitted from sender to receiver in a unit of time. Although the theory itself originates in communication engineering, it is also useful in the realm of music, especially in analysis, in twentieth-century composition, and in recent developments in aesthetics and psychology. The term "information," used in information theory, is to be understood not as used in ordinary usage, but as a technical term indicating the measured quantity of a message. Precisely speaking, the word "information" in communication theory rather refers to "the measured amount of information" or "a mathematical abstraction of information content" The notion of "entropy" was also introduced by Shannon and Weaver as a measurement of potential information contained in a message. By definition, the less predictable the communication system is (i.e. the more even the distribution of possible outcomes is), the higher entropy will be. In pitch class analysis, therefore, when the distribution is rectaguar (when all twelve pitch classes are evenly used), one can expect the maximum entropy (3.585). From 1956, many theorists have investigated musical works of various historical periods. Among them, R. Strauss' Lieder turn out to contain the most information, and nursary tunes yield the least information. In general, however, the results could be divided into several categories. That is, stylistic differences of music-historical periods in terms of the use of pitch-classes readily emerged. Although infromation theory is thus useful and even advantageous in music analysis, several questions can be raised with regard to the reliability of the data, the perceptual and cognitive validity of statistical results, and the contextual aspects of music which are totally ignored from the perspectives of statistics. Many scholars have attempted to overcome the technical and philosophical limatations and problems of information theory; as a result, recent research regarding music as a medium of communication has developed in both scope and quantity.

The purpose of this study is to come to an understanding of the composition methods used in Korean Traditional Music and with it a finding of a new vocabulary for the subject with a comprehensive meaning. The history of music is the history of creativism. There are many different theories to the origin of music but one point we can be sure of is that humans created music. There also may be various theories as to what or how music was made, but there is no question that humans made it sung it, and performed it. And as we can sure that the history of Korea is the history of Koreans, I believe that at the beginning point of Korean history, music was made and that that music was played. But music can only be understood through written records if any were left, whether or not in the literal or illiteral era, if there was no system for writting down music and other records left of it, we am never know of that music. Korea did not develop a written language until a later period but even with having the use of Chinese letter, the music from ancient 15th century B.C. to 1st century B.C.(Era of three Kingdoms), and from 918 to 1392 (Koryo peiod) cannot be examined nor will its form ever be understood. Although Solmizationd(內譜) was used during the Koryo period the writting of it was incomprehensible. Also Letter Notation(律字譜), and High-Low Letter Notation(工尺譜)was used to record Chinese Ceremonial Music(雅樂) and Popular Chinese Music(唐樂) but being also incomprehensible and it not being Korean music, these have been excluded from my studies. 1392, the founding year of the Yi Dynasty is the first time one is able to study the musical forms in Korean Traditional Music, In 1443, King Se Jong(1419-1450) developed the Hun-Min-Jung-Um(訓民正音), the Korean alphabet, and in 1447 created a complete system for recording music, the Mensural Notation System(井間譜). It was developed to write down Native Korean Music(鄕樂) and through these written records we are able to analyze the forms in music from the beginning of the Yi Dynasty. Thus in studying the composition methods in Korean Traditional Music, the most appropriate material for reference would be the first written records left in this era. The purpose of this study is to analyze the music from 1392 when Yi dynasty began, to 1450 the era of King Se Jong in order to further understand the composition methods of their time. In this era, there was no completely separate system for composing a new piece of music. Koryo songs and some of musics from <Poonga 12 Sibo>(風雅12詩譜) a part of 「Uire KyungJun Tonghae」 (儀禮經傅通解)written by a Chinese named Joo-Hee(朱熹), was used as a base, piece for composing all new tunes. <Poonga 12 Sibo> is a collection of songs using text from Sikyung (詩經) which is one of Confucian Scriptures and these songs have been passed through from the Chinese Tang Dynasty(618-907) to Song Dynasty(960-1279). Therefore, we can conclude that the songs of <Poonga 12 Sibo> are Chinese. I have analyzed 8 pieces composed using <Poonga 12 Sibo> as their base pieces. These 8 tunes were written before the Se Jong era and have maintained the characteristic of the Chinese 7 tone system. But I have changed the notes of the Chungwhangjong(潢鐘)and Chungtaeju(汰簇) in 12th Yul(律) down one octave, changed the starting note to Hwangjong(黃鐘), and the ending notes to Taeju(太簇) - Hwangjong(黃鐘) as in the Korean system of downward movement for its ending form. There are all together 12 songs in the <Poonga 12 Sibo> and of these, I have taken <NokMyung>(鹿鳴)<HwangHwangJaWha> (皇皇者華) <UhRyuh> (魚麗) <NamSanYuDae> (南山有壹) as the originating base pieces and have composed 8 new ones <SuBoRok>(수보녹)<SuMyungMyung>(受明命)<HwaHwangUn>(荷皇恩)<YoongAnJiAk>(隆安之樂)<HyuAnJiAk>(休安之樂)<MunMyungJiGok>(文明之曲)<MuYulJiGok>(武烈之曲) and <GunChunJung>(覲天庭) with new lyries. Illustration 1 shows the relationship the base pieces and new songs. Illustration 1 ◁표 삽입▷(원문을 참조하세요) All thd songs in the <Poonga 12 Sibo> are long so they have used either one movement in each song or if the movement is too short, have used 2 to 3 movements. As a method of composing, they have either contracted the original piece or have used all of a melodic line to create the new piece. Before the SeJong era, the Chinese <Poonga 12 Sibo> was generally used as the base music for creating new compositions but King Se Jong used only Koryo songs of native Korean music (鄕樂曲) to base new songs. Using <chung San Byul Gok> (靑山別曲) as the base reference music <Nab Shi Ga>(納氏歌)and<Hyu Myung>(休命) were composed; with <Suh Gyung Byul Gok>(西京別曲) the <Jung Dong Bang Gok>(靖東方曲) was written ; with <Han Lim Byul Gok> (翰林別曲) came <HwaSan Byul Gok> (華山別曲); <Man Jun Choon> to <Soon Ung> (順應) <Poong Ib Song> (風入松) to <Yoong Hwa> (隆化); <Ssang Hwa Gok> (雙花曲); to <Jung Myung> (貞明); <Ga Shi Ri> (가시리) to <Hyung Gwang> (亨光); <Ya Shim Sa> (夜深詞) to <Bo Yae> (保乂) ; and with <Sa Mo Gok> (思母曲) wrote <Chang Hwi> (昌微). Illustration 2 shows the relationship of Koryo songs and the new songs based on them. <Illustration 2> ◁표 삽입▷(원문을 참조하세요) <Hwa San Byul Gok> was written by using all of <Han Lim Byul Gok> and <Yoong Hwa> was composed using only a part of <Poong Ib Song>; s melodic line. The rest of the pieces used parts of their base piece's melodic lines and supplemented changed lines to create the new songs. Some of these changed lines are completely altered and only keep minimal characteristics of the base melodic line and rather than to call it a changed version of the base piece, we might call it a completely original line. Also the structure of the pieces can be divided into two forms - contraction and expansion. The two methods of composing were either to use all parts or some parts of the original piece, and in the case of using only some parts, the added changed lines would make it difficult to establish any reference to the base piece, also bringing about the expansion and contraction of the forms. I have analyzed 18 pieces composed from beginning of the Chosun era (Yi Dynasty)to the SeJong era and have organized their composition methods. 8 new pieces composed using <Poong 12 Sibo> as the base music are its strophic form and the pieces asing Koryo songs as their base are in through composed form. A point to be aware of is that even when using the Chinese songs as the base piece, the new compositions always were written reflecting the Korean musical styles and during the King SeJong era, when independence was strongly stressed, they not only chose only Koryo songs for their base pieces but having supplemented she new compositions with varied melodies and so on. They showed beginning signs of creativism in composing new and original pieces without being bound to original melodic lines or the base piece itself. Of course, in Korean traditional music, the 'act of composing' did not just begin in the Chosun era. But in reaching my objectives in understanding of composition method, by having chosen mateial from this period not only can we understand the essence(substance) of the music itself but because so many new pieces were composed in the beginning of the Chosun era that these pieces are the first and the oldest material we have that can be used for references. In order to understand the degree and the position that the composition methods used from end of the 14th century to middle of the 15th century (SeJong era) holds, I have compounded the beginnings of composition activities in the western music history. The beginning of western composition can be summarized by trope and sequence. Sequence can be considered to be a derivative of trope so I'11 deal only with troping. Trope can be divided largely into 3 sorts ; one is to take the original melody and melismatize it ; two is to place its text differently; three is to use both methods at once; but there is also a variety of other methods too complex to include in these divisions. Also when writting a new piece, sometimes a part of the original melody line is inserted into the new piece and/or is placed at beginning of the new piece. Troping uses mostly only the given piece or a given line. This was a method of composing used since the 9th century but coming into the 12th century the insertion or supplementation of parts or lines gave way to the creating of new lines at one's will. The difference between the western troping method of using the given melody or a given piece as the base piece with that of Korean traditional method is that although the composition method used in the Chosun era was that of being able to use the given music or line as a reference piece but the note itself and the ending styles could be changed and that many changed lines to supplement the new piece. The second objective study is to be able to find the most appropriate vocabulary in naming the activities and methods related to creating and composing of Korean traditional music. The reason is that music whether traditional or being written in the present are all tailed 'composing' and there is a need to reorgnize these different ideas. As stated above, in the beginning of the Chosun era the method of composition was that of using a base (reference) piece to create a new piece. So, from the position that this method is different from the method of creating a completely separate and independent music. 1 come to introduce the word 「Formation」 (形成) as a new word to describe the composing method of Korean traditional music. The reason 1 conclude to use the word 'Formation' is that not only from the understanding of the music in the Chosun era as described above, but from the viewpoint of history, the various music forms such as San-jo. Pan-so-ri etc. that are included all have the qualities of having 'Formation', thus giving me reasons to qualify this word. The word 「Formation」, as in the past performers, is the creative action according to die performer, and composition is the creative action according to the composer. I summarize that these are the two creative actions related to Korean traditional music. This study being the very first in analyzing the composition methods in Korean traditional music, I conclude my thesis with the beginning of my studies in composition methods of the Korean traditional music.

This study aims to discuss the new piano techniques employed by an American composer Henry Cowell, John Cage, and George Crumb in their piano works along with the analysis of their selected piano compositions. From the first half of the twentieth centuries, contemporary composers have been discovering that the piano is capable of producing a constanthy expanding array of new sonorities. Some of these are produced by the manipulation of the strings by plucking, strumming and muting. Also, the use of tone clusters, and the introduction of foreign objects on the strings of piano, and the use of contact microphones placed on the sounding board. These techniques add a new dimension to the total sonority of the piano. The enlarged spectrum of colors has brought not only novelty to piano music, but also a fundamental change in the concept of piano sound. The origins of some of these non-traditional techniques can be traced historically. American composers have had a significant role in these new developments. Many composers such as Charles Ives, Henry Cowell, and John Cage, George Crumb found that the piano is capable of producing a diversified new sound and unusual timbres. All of these composers, if in varying degrees, manifest a marked experimental strain. They share an interest in exploring new musical terrain and an urge to break free from what they perceivede as the outworn artistic heritage of western cultures, to rejuvenate an old and exhausted tradition with something fresh and youthful.