In this study, the nuances of salicus flexus resupinus were composed using the break of neuma suggested by Dom Euge´ne Cardine. As a result, 19 cases available out of the total 31 nuances could be found in manuscript St. Gall, one of the chironomic neuma system. When they were analyzed, it was found that each desirable nuance could be created through the break of neuma, and particularly, the tones, which the effect of neumatic break took place, were always such as finalis, dominant and mode relative in their modes. It was also disclosed through this study that nuances of more diverse rhythms could be created by expanding the tones before or alter neuma which was composed. Such results may suggest that the nuance composition using the effects of the neumatic break would be applied to express the nuances of certain or desired rhythms and therefore, that it would possibly contribute to the precise revival for performance and melodic analysis of Gregorian chant.

German composer in the late nineteenth-century faced the difficulties of developing their extremely brief and original idea(Grundgestalt), and the treatment of the musical idea or thematic affected the whole structure of a piece. In this regards, the real sequential technique of Wagner and the developing variation of Brahms are the most distinctive principles of the process of music idea in this period. The compositional technique of their contemporary, Gustav Mahler, on the other hand, has been always treated as isolated and considered as having no specific and coherent principle of thematic technique in his music. Actually even his sonata movements, despite being based on the traditional formal scheme, shows great difference with Brahms. Then, what elements did he use in his composition and what should be examined besides the technique of Brahms and Wagner to analyze his music? In this paper, the first sonata movement of Mahler's 7th Symphony has been examined focusing on his principle of presentation and process of the initial musical idea and its influence on the structural form of the piece in organic sense. The two characteristics in Mahler are found in this study: the one is monotonal aspect throughout the movement and the other is liquidation technique presenting the initial musical idea. The introduction to the movement provides the process of growing of the main and subordinate themes out of a seed, the initial musical idea, and show themes are related in a tonality as well. Liquidation technique can be explained by Brahmsian developing variation in a highly extened form, so that the motivic transformation is more varied and further, other themes or ideas are derived from it. In the liquidation, since the harmony strives away from the tonic, tonal extention can naturally occurs. These compositional techniques in Mahler are also clearly supported by his sketches of this movement, which was examined by Stephen Hefling. Monotonality is the pre-stage of pantonality or atonality, since the monotonality concept has enormous freedom in modulation or transposition in a piece. And liquidation technique offers the freedom by transforming and developing musical idea. Consequently, it is no exaggeration to say that the principles in Mahler's composition are entirely in organic sense and should definitely influenced on Schoenbergian musical language.

This study examines <the gender discrimination against the female musician in the music history>. Many people had believed that women does not have musical talent pointing out the fact that all great musicians were men. The reason might not be what many people think. Musical history tells us that women musician having musical talent hardly had chance to develop and show it. Patriarchism prevailing the society had worked also in musical fields, sometimes more intensively. Patriarchal ideology and social system based on it demand that active, productive, resonable, creative, scientistic, technical characters be reserved to man. In that system, women take only passive, reproductive role. The long music history shows that female musicians had been permitted musical activities on the condition that their musical activities encourage the femininity. For example, women were totally excluded in the field of composition, which is considered as creative domain, and the situation was not different in the instrumental performance requiring high technical expertise. Women musicians were free, or encouraged to play key-board music or harps for that they had to take a female posture during the performance. Even in that case, they were allowed to play in the home, not in public. Exceptionally women vocalists were allowed to sing in public from the beginning of music history. This can be explained by the fact that they were needed for their role restricted often to a prostitute image using body to seduce men. This gender discrimination in the musical production and performance had given strong impact on musical education. In a sense, it is reproduced in a exactly similar way in the field of music education. Women had been prohibited from taking musical lesson to become a music professionals. They were only allowed to be trained by means of cultivating their general culture. Under this context, musical education was considered as symbol of wealth. The critical examination of the musical history shows clearly that the gender discrimination in music filed is not separated from the paternalistic ideology and many sex-based prohibitions on the societal level. It demonstrates also that the sexual discrimination was reproduced and strengthened in music field. The reason why there were no great female musicians, therefore, have to be searched not in the lack of musical talent of women but in the socially constructed constraints, the patriarchal system.

This article focuses on the background of the French ars nova, which includes Vitry's theory, and Machaut's isorhythmic motets. Vitry's innovation allows duple as well as triple division of the beat at three different levels. In the fourteenth century, these changes permitted rhythmic organization on the larger scale than before. Also, his technique of isorhythm, which was developed from the thirteenth-century ordines, is firmly established by Machaut. Machaut's complete works are preserved in; eight manuscripts: New York, Wildenstein Galleries, Paris, Bib. Nat.. Fonds Francais 1584, 1585, 1586, 9221, 22545-6, and 843. Among these, the Paris, Bib. Nat.. Fonds Francais 1586 is the oldest collection and Paris, Bib. Nat.. Fonds Francais 1585 is the fifteenth-century copy of New York, Wildenstein Galleries. The Paris, Bib. Nat.. Fonds Francais 22545 contains Machaut's complete compositional outputs, including twenty-three motets(ff. 102-125). In composing isorhythmic motets, Machaut employed various techniques in the unique way. Therefore, Machaut's isorhythmic motets are analysed here, especially the pattern of talea and color. Through the analysis, some mistakes occurring in Leo Schrade's edition have been revealed at the end of this article.

The purpose of this study is to suggest material and method of instruction of the aleatory music at school. In order to apply the aleatory music to school, it is needed to transfer the concept of art philosophy to teenager that the sound and tone, nothing else, should be the basis of the music and it should be handled apart from the traditional concept of music. The main portion of this study is divided into three steps based on the theory of praxialism in Music Education. 1. The first step is concerned with sensitizing today's adolescents to different sound of music, traditional and contemporary (Guidance of appreciation). 2. The second step is to introduce students to literature by John Cage to help their comprehension and appreciation of Aleatory Music(Guidance of literature). 3. The third step deals with methods of instruction to enable students to analyze music(Music of Chages)and to enhance their performance in group. (Guidance of structural analysis and musical note) With the reference of the music score of sound, rhythm, dynamic, duration and tempo, this study introduces how to create the music as a sound through music activities in procedures of performing and improvising without mensural notation. The expected results is the improvement in musical creativity and in the ability to express onself in music. The creative music education make teenager improve their esthesia through the group performance and improvisation. These are most important activities in developing Musicianship. Needless to say, we need to have more concern on the contemporary music how to teach it with which method and material in school.

The concept of "prolongation" which is an idea of extraordinary power is well established by many Schenkerian analyzers. It offered outstanding and unique view into common-practice tonal music, allowing us to understand through the musical surface to the remoter structural levels and ultimately to the tonic triad. Many researchers have indicated that it is not proper for atonal music to adapt the concept of prolongation. Most theorists have ceased to produce prolongation analyses of atonal music. The first part of this study examined the limits of the Schenkerian analysis concerning the fundamental structure(Ursatz). Through this examination, it has been found that the fundamental structure and prolongation are not the absolute notion, and harmonic progression and prolongation are largely determined by the consonance and dissonance that occurred contrapunctally between parts. From the standpoint such as this, Strauss and Pearsall admitted that in atonal music, some sonority might be defined contextually as a consonance, thus permitting small-scale prolongations. In the context of the intervallic contents of chords in an atonal works, we may find some prevalent chords. Some researchers suggested that the potential exists for uncovering a unique context containing intervallic variety in each atonal composition. To examine the intervallic content in some atonal works, we used the approach of "set" theory. Unlike tonal works, each atonal composition contains unique structural attributes. And, the identification of consonance and dissonance in atonal music necessarily leads to new definitions of harmony and voice-leading. This study analyzed Webern's op.9, no. 2, based on the demonstration of Edward R. Pearsall. This analysis illustrated the existence of common harmonic attributes and structure. Pearsall suggested that some prevalent intervallic contents and common harmonic attributes be able to consider a kind of 'consonance'. And, he thought of this consonance as a unit of prolongation in an atonal work. The demonstration of Pearsall gives an example of the understanding the term "prolongation" in atonal works. His methodology of analysis is not absolute nor generalized. But, we may have a possibility to examine the "prolongation" in atonal works. In conclusion, we may apply the methods of this analysis to other atonal works.

It is the purpose of this study to document the decline of modal theory in the seventeenth century and the concurrent emergence of major-minor key theory. Emergence of major-minor key theory in the seventeenth century put an end to virtually unbroken tradition of modal theory which had endured for at least two millennia. Glarean and Zarlino are linked directly to the recognition of major-minor key theory in recent literature. In reality, however, there is not a trace major-minor thinking in Glarean's Dodecachordon. For from trying to isolate the new Aeoliean and Ionian modes, Glarean argues that he is only trying to complete an imperfect system of eight modes by correcting a misunderstanding of the nature of mode as octave species. One of the earliest indications of new direction in modal thinking is found in Zarlino's Istitutioni harmoniche. After acknowledging the existence of twelve different modes, Zarlino goes on to state that all of them could ultimately be broken down into two groups: 1) Those with a major triad on the final or mediant. 2) Those with a minor triad on the final or mediant. Zarlino maintains, furthermore, that it is the presence of major or minor triads on these particular scale degrees which determines the affection of music. During the period transition from modal theory to major-minor key theory, roughly coextension with the seventeenth century, elements and characteristics of modes are often found intermingled with key traits. But to say, in effect, that four of six mode pairs fell into disuse leaving only Aeolien and Ionian, and that these two pairs were identical to minor and major, respectively, is to ignore the historical evidence of seventeenth century music treaties. To say that major and minor descended from Ionian and Aeolian is misleading for two reasons: 1) Those who dealt with two modes and treated them as "modes," i. e., subjected them to transition, generally chose Ionian and Dorian. 2) Those who dealt with two modes, one on C and one on A, treated them as keys from the start and ignored their fortuitous to Ionian and Aeolien respectively. In conclusion, it can be seen that Ionian octave-scale pattern becomes the major mode. It is impossible, however, to provide such a tidy picture for the ancestry of the minor mode because no single scale is used exclusively and not all forms of minor scale (i. e., harmonic and melodic minor) correspond to one of the earlier modes. Yet despire the variability of minor mode, theorists are still able to speak of the major-minor mode since what they consider to be the most essential property of their two modes-the third above the tonic consisting of either a ditone or a tone semitone-is present in the single major scale as well as in each of the diverse forms of the minor scale.