The purpose of this study is to examine the happy relationship between Richard Wagner and his royal patron, the Ludwig Ⅱ in Barbaria. The main portion of this study is to explore the multi-faceted nature of the Barbarian King: that is, Ludwig Ⅱ as a political leader, an art-loving patron and a dreamy platonic lover with homo-sexsual inclinations. What are the political situations in western Europe, including Barbaria, Prussia, and Austria in the second half of the nineteenth century? What are the historic consequences of the king's unconditional love toward Wagner's music? What is the conception of German national hero and how is that conception related to the characters in Wagner's major operas? These are the questions to be answered here.

The masters program of the elementary music education in the national university of education has opened since 1995 in Korea. Only 3 national universities of education are offering this masters program and 4 more universities are to follow. Because this program is just at the beginning level, it is the time to present the idealistic elementary music education curriculum for the masters degree. The process of the development of the curriculum had 3 steps: first step was to compare all 7 masters programs of elementary music education; second step was to compare 4 American elementary music education curricula for the masters degree; third step was to draw the common elements from the comparison of the elementary music education curriculum between Korean and American. The results of the analysis are: 1) both curricula from two countries have 4 common courses of music education such as elementary music education, foundations of music education, research in music education, principles of music education or psychology of music education; 2) both curricula offer music performance, ensemble, music history or music theory. Thus, these courses are included into the idealistic elementary music education curriculum for master degree along with the Korean music education.

Until early 20th century study on various works had been focused on melody, rhythm, or harmony. Recently, however, metric has actively been studied among many music theorists. A typical type of symmetry commonly found in pre-18th century works is simple in a way that words are paired every so often. This pattern had been diversified with the adverse of Wiener Klassik era when the theoretical work on symmetry began systematically. Koch and Naegeli laid foundation on the study of symmetry and the concept was further developes to include even a spacial symmetry suggested by Riemann at the late 19th century. Later on the early 20th century a diverse application of symmetry and asymmetry was treated importantly in 12-tone music. There are three types of symmetry. The first type is a rotational symmetry along the horizontal axis. The second type of symmetry is a horizontal-moving motif along the vertical axis. And the third one is a mirroring type along any line or plane. These are presented in various forms such as motif iteration, translation, sequence, inversion, retrograde, retrograde inversion, augmentation or diminution. This article presents a detailed analysis of "Ludus tonalis", a Hindemith's work for piano, from the viewpoint of symmetry techniques. In his book "Unterweisung im Tonsatz" which publisched in 1942, Hindemith was trying to prove his theory with the case of "Ludus tonalis". The work begins with praeludium and ends with postludium. Here the postludium is simply a half rotation of praeludium and this is, therefore, a typical case of retrograde inversion. There are twelve fuges and eleven interludiums between praeludium and postludium. A diverse form of symmetry are found in both inter-fuge and intra-fuge relation.

This paper investigates into a lost koˇmun'go tablature attributed to Soˇnghyoˇn callcd hyoˇnguˇmhapjabo[現金合字譜]. based on evidence drawn from hyoˇnguˇmhapjaboso written by the same author. Up to the present, the historical value of hyoˇnguˇmhapjabo[現金合字譜] has been largely overlooked by most Korean scholars. However, an introduction to this document provides important insights into the state of koˇmun'go music during the 15-16th century. Besides, the koˇmun'go tablatures from 16-17 centuries indicate that even prior to Kumhapjabo. the earlist extant koˇmun'go tablature. there was another notational system for the instrument and that Soˇnghyoˇn was possibly the editor. This allows present-day scholars to make some conjectures regarding the possible nature of the lost noation. This study, after examining the various writings of soˇnghyoˇn and other 16-17th-century sources, reconstructs the background and the contents of hyoˇnguˇmhapjabo. With the aid of his brother, a connoisseur of music. Soˇnghyoˇn. was able to learn the arts of koˇmun'go from the contemporary master Yi Ma-ji(이마지). After this initial contact, soˇnghyoˇndvoted his to music. occasionally learning from and exchanging artistic ideas with masters like Yi Ma-ji. Kim Pok-kuˇn (金福根). and Choˇng Ok-kyoˇng(鄭玉京). From as early as 25 years of age. Soˇnghyoˇn was reknowned as an authority in music, which led him to hold an important position at the Changakwon. after being appointed a goverment official. It was during this period that soˇnghyoˇn was exposed to Chong In-ji's influence and his important book Yulnyo-sinso(律呂新書). which further expanded his knowledge in music. Such a long period of accumulating knowledge in koˇmun'go music foregrounded soˇnghyoˇn's invention of a koˇmun'go notational system and his publication of hy on gu mhapjabo. Therefore one can safely conclude that his work epitomizes his in-depth understanding of the koˇmun'go tradition and that he intarded it as a solution to his life-time concern that the traditions of koˇmun'go master were dring without being faithfully transmitted. The tablature was intended to serve the needs of students who learned koˇmun'go without neccedssarily having a teacher to guide every step. The actual content of hyoˇnguˇmhapjabo is surmised to have been comprisad of yoˇmilnak, pohoˇja, kamgun'un, halnimbolgok. Taeyoˇp. and pukjoˇn The introduction to kuˇmhapjabo states that there was already a tablature before the mid 16th century. with a rather inconsistent notationa system and that kumhapjabo is merely a re working of that prototype with the addition of a few new pieces. This points to the possibility that the system at issue is actually S oˇ nghyoˇ's hyoˇng uˇmhapjabo, of which kuˇmhapjabo is simply a revision. There soˇnghyoˇn's hyoˇnguˇmhabjabo, although lost, bears the historcal significance of having been the very first koˇmun'go tablature ever written in the hapjabo notational system. Further, the existence of an earlier tablature than Kuˇmhapjabo(琴合字譜) may help explain the structure of the pieces contained in kuˇ mhapjabo that are presumed to have had a longer history. (November 9, 1997)

It is evident that Riemann was famous in music history and theory But in this study the writer made researches only in harmonic theories. His harmonic theory is summarized in harmonic dualism and theory of functional harmonic progression. The major triad is derived from the harmonic series and the minor triad from the mirror inversion of this series, called the "undertone series." Riemann uses the term "clang" to indicate this series. The major triad is thus termed an "overclang" and the minor triad an underclang. The tonic triad is dependent on its dominant and subdominant: every chordal structure can thus be traced back to these functional triads and each triad can be represented by one of its constituent pitches or intervals. In 20th century Schenker and Hindemith is related with the theory of funtional harmonic progression. There is similarity between Riemann's three tonal functions of tonic, dominant, subdominant and Schenker's Stufen and Hindemith emphasis on tonal center of a degree progression. In conclusion, it is quite evident that Riemann' harmonic theories are still very much alive today. It is the writer wish that this thesis may contribute to a comprehensive presentation of Riemann's theory of harmony.

This thesis reflects the relations between words and music in a Korean Hymn, 'Lift Your Eyes And Look to Heaven' written by Park Jaehoon. This song is made on the basis of one of Seok Jinyoung's Poems during the Korean War in 1952 when Korea was confused extremely. The texts consist of Enhancing the reasonability of Christians, who should witness the gospel of full hope in the cries of wounded spirits. This hymn has some following characteristics. The poet uses the repeated phrase at the first and last lines. As a topic the main context of the each paragraph is placed after the first repeated phrase. The important contexts are complemented and expressed from in the second line. This matter includes a theologic ascension focused by the Word Jesus. Each line is contrasted in the view of the total structure. This comparative text is hardly compared with a single paragraph song. Even an uniformed single paragraph can not explain this ascented expression in each distinguished text. For example, why does the writer express the cries of sigh in the seventh measure in the first paragraph and the waters of life in the same measure in the second paragraph. But we can see the characteristic expression which this complicated poem has, Mr. Park would like to give the total form and mood rather than the description of each word. He uses the characteristics and advantages of multi-paragraphic songs, which is proved as the following matters. One of the most outstanding points in common is two sucessive measure structure. The meaning change and complexity of each paragraph are not described directly as a picture but is expressed indirectly by variations which are shown in the repetition of melody and harmony. But the most important matter is the poetic and musical mood in common. The main phrases 'The cries of sigh in real' and 'the demand for improvement' have repeated expressions such as phrases 'Lift your eyes and look to heaven' and 'O believer What will you do', rhythms 'the pattern of sigh' and 'the pattern of calling.' The peak of the third lines have not only a negative word 'sigh' but also the positive word 'Jesus', We can find that this part makes the complement efficient and implies the main words in the last part of the first line. As an exception we can understand that the last phrase of the second line 'the cries of sigh' and the fourth line 'O believer' are concretely described as a picture. This is interpreted as a disadvantage of the limit in multi-paragraph and as a great merit of expression for total mood. In conclusion I dare to say the hymn 'Lift your eyes And Look to Heaven' is a skillful and witted art which resolves absolute or relative problems in words and musi

This article depicts Schubert's attempts to find a musical parallel for poetic irony, especially in der Wanderer. Schubert presupposes that the text of the song can reflect in some way "an absollute synthesis of absolute antitheses". However, who can recognize that his depiction of text's irony is same as that envisioned by the poet? Thus, this deals with not only the definition of Romantic irony but also a cursory runthrough of Schubert's setting. As a result, we find that Schubert reflects poetic ideas in his song.