All technical and stylistic changes of music through the ages, reflect the changing outlook of man and the changing human society. Therefore, writing about music and its study reveals the changing attitudes to music. The word, history denotes that past events, considered in their chronological order or a record of past events. Music history has distinguishing characteristics of this as defined above with the limitation that its subject matter is confined to musical events and other events, as far as they affect musical ones or are affected by them. A historian's chief concern lies mainly on reconstruction of an accurate record of human activities and on achievement of a more profound understanding of them. For this purpose, a historian has to subject his sources to a whole series of preliminary investigations. First, he has to determine whether the sources are appropriate and adequate for the particular task in hand. Secondly, he must make sure that he fully understands what he has selected. Finally, he must try to synthesize his materials. The scientific approach to the historiography began only from the late 18th century. Before that period, the historiography was more appropriately the function of religion, of philosophy, and of literature. Historiography of the 18th century was largely inspired by the progress in the natural sciences and based on formulating the general rules governing the development of human societies. The chief features of the new historiography were a sense of the unity of all human history including non-European countries; a capacity for research about the salient features of particular periods; and preference for topics connected with the progress of human civilization. But the historiography of this period was rarely connected with universities. The continuous study of history could be developed only from the 19th century and the historical writing could be done by professional historians. Historiography eventually became a continually cooperative venture where the achievements of the previous historians could be used systematically by their successors.

The purpose of this study is to review all the issues relating to music education research in the master's level on the basis of the opinions of music education researchers to diversify the research themes. The research in music education is a work to identify truth with the scientific methodology, to establish a new system of knowledge for an academic support of music subject. Music education researchers are making efforts to pursue truth they need to know with continuous curiosity and interest. They emphasize on nurturing and supporting young researcher. As research is conducted for purpose of education, they claim a need for application to education. Scholars put weight to how new knowledge is transferred and they make research topics out of different problems arising from performance. In order to share appropriate and effective information in an era of information, the scholars refer to the importance of publishing research papers. The themes of the masters' theses written by music education majors at the Graduate School of Education have a tendency to shift the focus from performance to theory. Papers analysing musical pieces have been reduced in number, and research focusing on the analysis of teaching materials, the teaching methodology or pedagogy, and the curriculum has been strengthened. But, the research is limited to a particular area. Research topics should be related to music education, and selected concretely and practically on the basis of a historical, experimental, descriptive, and philosophical research methodology. The topics should be chosen to apply to education, to contribute to finding solutions to the problems, and enhancing creativity, and to focus on the development of the ability to understand the interrelations in music. It is hoped that this study will serve as an opportunity to lay the groundwork to provide an effective means to exchange information among the researchers on music education.

The 2nd piece, 「Selbstportrait」 mit Reich und Riley of Drei Stu¨cke fu¨r zwei Klaviere composed in 1976 is a typical example of minimal music among Gyo¨rgy Ligeti's works. In this opus, a musical citation(Zitat) is an important thing. It is not directly performed, i.e., it is an indirect citation about musical features and phenomena of minimal music, not a direct one about a certain composer's piece. However, we can find out obviously that Ligeti's ideas and musical phenomena which was accepted as a new element of his creation in 1970's already occupied an important position in his works before 1970's through a lot of his pieces of 1960's and 『Musica ricercata』 (1951-1953) composed in his time in Hungary. The similarities among his pieces composed before he came to know minimal music can be explained by the identity of his unconscious musical tendency which is 'floated in the air' like his own expression. As we can see in the title, 「Selbstportrait」 mit Reich und Riley, the way of citation in this piece is one that a citation of musical expression inherent in his own works is colored by something as that about phenomena of minimal music. The citation of this kind about ideas of minimal music was more emphasized by accommodation of various sorts of traditional music in this piece. 「Selbstportrait」 mit Reich und Riley received musical traditions such as cluster technique, blocked keyboard, imitation technique and inherence of F. Chopin's music. Such a musical accommodation make us unable to perceive citation and accommodation in its acoustic result due to citation of harmonics in the pieces of Henry Cowell and Pierre Boulez, techniques for organ by Karl-Erik Welin or blocked keyboard of Henning Skdentopf. The citation of blocked keyboard emphasized no more than that of minimal music by which he was influenced when he composed it. Therefore, we can regard the citation of minimal music in 「Selbstportrait」 as new musical phenomenon firmly expressed by the collage of Ligeti's mode, which is equal to minimal music, and other various musical mode of expression. In other words, various musical expressions collaged in 「Selbstportrait」 embodied the citation of minimal music as a unified phenomenon of constitution of the whole work, and the citation of minimal music in this piece came to have its own adequacy. The citation in Ligeti's works, especially that of his own pieces, is different from Zitat music or the mode of citation which aims at pursuing diversity as an important musical phenomenon coincided with Postmodernism in 1970's. One of the differences between them is that in Ligeti's works, the object of the citation is not a definite part of existing music but a entirely musical phenomenon. Another is that various musical expressions collaged are harmonized in the unity of the works.

Music, melody, harmony, rhythm, symphony, orchestra, organ, chorus, chord, tone and so on, the world owes these words to the Greeks. Ancient Greek culture was permeated with music. However, the subject, "Music in Greek Life" is practically ignored by all of us. Sometimes its very existence seems to be barely acknowledged. We can learn about music in ancient Greek by several ways; the evidence of archaeology and art; the innumerable references to music and music-making scattered through Greek literature from the eighth century B. C. onwards; specialist writing on music, e. g. Aristoxenus of Tarentum; non-literary documents, especially inscriptions, occasionally also papyri; actual musical scores. In ancient Greek culture, music, song and dance were seen as being, together with orderly sacrifices to the gods and athletic facilities for men, the most characteristic manifestations of a civilized community in peacetime. The Greek thought above all of the music and song associated with the public worship of the gods. Not everything, however, had to be subordinated to the god's needs. A paean or dithyramb might contain much that had little relevance to the deity being honoured. Offering prizes for the best singer or instrumentalist was a natural development. In B. C. 5th century, there were competitions for rhapsodes at the festival of Asclepius at Epidaurus. There must have been many opportunities for hearing epic song other than at festivals, but festivals will have been a common setting. In the society portrayed in the Homeric poems it is music and song that provide the normal entertainment of the household. Much of the elegiac and lyric poetry of the seventh, sixth, and fifth centuries was composed to be sung at the symposium. Certainly at Athens in the fifth century symposiasts regularly sang songs or excerpts from 'classic' poets. The ability to play the lyre was not uncommon among the archaic nobility. While the men made merry, the women of the household also were singing too in their own quarters. Children's songs must not go unmentioned. The picture has been deliberately limited to the Archaic and Classical periods (eighth to fourth centuries), in order to maintain a semblance of coherence.

Before I studied this paper, I studied "the Research of the Documents Treated in Chosoˇn-wangjo-sillok": Laying emphasis on the Document. That study was to identify where and how 16 kinds of the documents were mentioned. It's intention was to identify how a policy of courtesy and music in Chosoˇn was acted. Among those researches, it was made certain that Aksoˇ 『樂書』 written by Jin Yang 陳暘 was totally 38 times mentioned and discussed in Chosoˇn-wangjo-sillok『朝鮮王朝實錄』. It was the most frequent appearances among 16 documents quoted in Akhak-kweboˇm 『樂學軌範』, so it was concluded that Aksoˇ was used as the important music document in Chosoˇn. A purpose of this paper is to identify where Aksoˇ written by Chin Yang is mentioned and quoted and to reveal how it is used in Chosoˇn's music and courtesy policy. Revised CD-ROM Chosoˇn-wangjo-sillok translated into Korean published in 1997 is used in that way to study this paper. And the range of this study is from Taejo-sillok 『太祖實錄』 to Ch'oˇljong-sillok 『哲宗實錄』. Besides, I'll identify the content of Aksoˇ, so that I intend to aid the understanding of this paper. Chin Yang's Aksoˇ was mainly used to establish the musical policy from T'aejong 太宗 Period to Sejong 世宗 Period (1418-1450) in Korea Dynasty, it was identified that they hunt for akgong 樂工 at Tang 唐 (China) and then learn the music. And Pak Yoˇn 朴堧 was allowed to edit the music books including an instrumental method and how to make sheet, because he needed a theoretic basis to establish 'royal court of music'. In addition to this, Pak Yoˇn tried to establish music grounding old system such as Aksoˇ written by Chin Yang. According to Chosoˇn-wangjo-sillok, CHin Yang's Aksoˇ was reflected at the musical policy in Sejong Period, especially the content of Akkidosoˇl 『樂器圖說』. In Aksoˇ, not only royal court musical instrument and the ritual things are presented by a picture but also the shape, construct and rendition of the instrument are presented in detail. Therefore Aksoˇ played an important role as a guide in a policy of courtesy and music in the early Chosoˇn times (1392-1592). Aksoˇ which had wide content used to be evaluated in that it had important literal values in the study of chinese music history and the study of music theory, especially in the study of eastern music and culture. As noting in this paper, the content of Aksoˇ which explained by a picture in detail is mentioned and quoted in a policy of courtesy and music by some confucian scholars including Pak Yoˇn in the early Chosoˇn times. And Aksoˇ is quoted 52 times in Akhak-gweboˇm 『樂學軌範』 edited in Soˇngjong 成宗 Period (1469-1494), so it is revealed to be dealt as and important music book. Therefore Aksoˇ is valued as an important book in the study of Chosoˇn's music history. Aksoˇ is mentioned 38 times in Chosoˇn-wangjo-sillok. Accordingly it is sure that Aksoˇ written by Jin Yang is important in the establishment of a policy of courtesy and music in Chosoˇn.

It is the purpose of this study to document the decline of cosmopolitism in Lasso's music. Lasso and Palestrina were spoken of important masters of Franco-Netherland School, and in many ways, Lasso(1532-94) compares with Palestrina(1525-94). Whereas Palestrina spent his entire life in and around Rome, Lasso traveled widely. Both Lasso's career and his music contrast with those of the contemporary composer. He was a Netherlander by birth, but the mutual influence of Romans, Venetians, Netherlanders, Germans, and the rest had produced something approaching a pan-European style. Wherea Palestrina concentrated his attention almost on sacred music, Lasso displayed a virtuosity in every style and genre of his time. Lasso is one of the last of the great cosmopolitan. Lasso was the most prolific composer of the 16th century. He comprised about 60 masses, 500 motets, 170 madrigals, 150 chansons, 90 german lieders, and so on. His mass was drawn from secular sources, from madrigals and chansons, occasionally from motets by himself or others. Lasso was the supreme master of 16th century motet. His motets, which owe something to the lighter style of the madrigal, were a literature themselves. In the last quarter of the 16th century, the Italian madrigal became widely popular. Under the influence of the madrigal, the chanson lost some of the characteristics it had possessed during the second third of the period. For Lasso's german lieders, he lived and worked in Germany during the his mid-twenties, so he published no lied until 1567. In a comparison of Lasso with Palestrina, certain similarities could be cited: each possessed a flawless technique, and each revelled in its use; Both were conservative musicians, perhaps by treatment but certainly in accord with the demands of the positions they held.