Among Mozart's numerous individual keyboard works, the fantasias, K.394, K. 396, K. 397, and K. 475 comprise the freer forms of composition written for the keyboard. The keyboard fantasias of Mozart preserve in written-out forms the incredible power of improvisation in which the composer displayed his innermost expressiveness and his utmost delight at the keyboard. As an eminent keyboard player and great improviser Mozart was immensely successful in his fantasias in uniting the variety of sentiments and fanciful keyboard techniques that the eighteenth-century audience so favored. Thus, this study examines the stylistic traits contained in Mozart's keyboard fantasias: the idiomatic keyboard figurations, the expressive idioms, and the overall formal structures. It is evident that Mozart's fantasias show much influence of C. P. E. Bach's free fantasias in their adoption of improvisational procedures and expressive languages of the empfindsamer Stil. Nevertheless, in the fantasias, there are many other characteristic features that are uniquely Mozart's: his language of style galant, his talent for dramatic power, and his predilection, as a Classical master, for the clarity of formal structures. Mozart's keyboard fantasias, especially K. 397 and K. 475, are unique and original creations in which the subjective force of expression is welded into the objective logic of formal beauty; in these small spheres of fantasias Mozart brings rich diversity of musical resources into a unified whole. In short, Mozart's keyboard fantasias exemplify a perfect union of expressive content and structural balance suited to the eighteenth-century ideal of Classicism.

More than a century has been elapsed since the Protestant Church Music had laid its root on Korean soil with the arrival of two American missionaries, H. G. Underwood and H. G. Appenzeller, in 1885. The two hymn books they carried with them may properly be acknowledged that Korean Protestant Churches first came in contact with formal Western church music, with the exception of Catholic Church Music which precedes protestant church music by another century, The Word and music were given to Korean churches simultaneously. The ministry of the Word has been unprecedently and unimaginably successful in Korea that churches all over the world took the Korean Churches as the model for a case study for its overwhelmingly rapid revival and growth in such a short period of tie. The Korean churches, however, are now undergoing experience of the aftermath of unbalanced diet of spiritual food, the Word and music. The church is founded on the Word and music. Many church fathers emphasized the importance of music, and the spiritual and moral impact music has on Christians not only in worship services but also in their everyday life. The Korean Churches, however, have concentrated only on the ministry of the Word neglecting, if not ignoring, music as a whole. This does not mean to say that music has not been used in churches at all, but, rather, the development of church music has not been kept abreast with, that of the ministry of the Word. In other words, the theology of the Word at the cost of the theology of music took the priority, thereth leaving Korean Churches crippled to cope with the churches world -wide. For Martin Luther, music was a "noble, wholesome, and joyful creation," a gift of God to the chruch, only next to theology in importance. For Luther to "say and sing" was a single concept resulting from the inevitable erruption of joyful song in the heart of the redeemed. Philip Melanchton, who assisted Luther in the reformation movement, supported Luther's view of church music saying, "When church music ceases to sound, doctrine will disintegrate. Religious music applied to life is a sanctification of life." The intertwining duet of music and theology forms the substance of Biblical theology. Although there is no specific chapter and verse in which is to be found a clear theological statement concerning the nature and function of music, there is nevertheless hardly a page of the Bible from which some musical inference cannot be drawn. As the Bible unfolds the records of the acts of God the continuous sound of music is heard. Johann Walter, who assisted Luther with his musical expertise, emphasized the organic unity between music and theology. He thought that music, "practically and inheritantly," belongs to theology. He believed that "music is intertwined and shackled to theology that anyone who disires, researches, and studies theology, must have an understanding of the art of music even though he does not read, feel, and know music." It appears to the writer that the overwhelming number of Korean ministers and theologians have overlooked, knowingly or unknowingly, the importance of the role of music in the worship service for the past century due to the lack of theology and philosophy of church music. Should we admit that late is better than never, there should be an enlightening effort on the part of every concerned ministers, permanantly retarded or handicapped by lopsided diet in our Christian Life. If the two ends of a scale, the word and music, be held in equilibrium in Korean churches, the true evaluation of the growth of the Korean Church, not only physical and quantitative growth but also spiritual and qualitative growth, may well take its much desired due place in the future.

One of the most important outlets for the eighteenth century composers was the writing of music for entertainment at. social occasions. Many different terms were applied to such compositions, including such designations as: divertimento, cassation, serenade, notturno, partita, tafelmusik, and harmoniemusik. None of these terms specified a particular formal design, but indicated music written in a light and popular vein, intended for easy listening, Almost every composer of the classical period wrote music of this type, both for ensembles of winds and strings and pure wind ensembles. Mozart's works for wind ensembles were composed between 1773 and 1783. These pieces utilize a wide combination of instruments and a wide variety of forms. In summary, these works of Mozart present a clear development in the handling of wind instruments, in the invention of themes suited to the instruments, and in the adaption of formal considerations to these instruments. The fumbling seen in the works of Milano gives way to a sure mastery of wind writing in the Salzburg sextets. The composing techniques exploited in the Salzburg works were employed quickly in writing works of the Vienna period. The serenade in E^b, an arrangement of Mozart's opera. Die Entfiu¨hrung, and the serenade in c minor, all adapted to Viennese tastes. The culmination of woodwind ensembles in the classical period seems to be found in serenade, K. 361 in B^b called "Gran Partita." Mozart brought woodwind ensembles to art music status by elevating the appeal for music originally intended for entertaiment. As a result, the works of woodwind ensimbles in the classical period were placed in their own musical genre.

This paper surveys conflicting attributions from ca. 1350 to 1600. There emerge from this brief survey of conflicting attributions three "themes," so to speak, the last two of which run through the entire span of periods covered: (1) conflicting attributions--that is, situations in which the musical or other documentary sources unequivocally attribute one work to two or more different composers--are an ever-present phenomenon from at least the beginning of the fifteenth century to ca. 1550 (with a much smaller number of conflicts appering in both the late fourteenth and late sixteenth centuries), (2) from the fifteenth century on, there seems to be a correlation between the number of conflicting attributions and the means by which music was generally transmitted; that is, the number of conflicts during the second half of the sixteenth century-- small in comparison with the periods before and after--ould seem to be related to the preponderance of printed or manuscript anthologies; and (3) ifone finds a relatively large number of total conflicts for a given composer, the vast majority of those conflicts tends to occur with only one or two other authors with whom the composer has had some biographical intersections, while a larger group of composers will share the rest, each of whom has a smaller number.

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.