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.

The Purpose of this Study is to find the Modern Movements which had done important roles on the development of modern church architecture and sacred art in the first half of 20th century. I had investigated the background and process of the movements, and analyzed the buildings which represented the movements. And I compared the architectural fruits of 'Riturgical Movement' and 'L' art Sacré Movement. The results are summarized as follows : First, there are two important movements in Catholic church in the backgrounds of the innovative changes of modern church architecture, Those are 'Riturgical Movement' which pursuits to establish a closer relation between clergy and congregation, and to make the positive participants in the service not mere observers and 'L' art Sacré Movement' which pursuits to accept modern secular art into church. Second, both movements had been developed on the bases of the theological studies with tow monasteries - Benedictine Order and Dominican Order - as leader. And the main concept was a kind of revival movement which recovers the Christian tradition. Third, The two movements began from the different themes and in the different regions. But they exerted influences each other, and achieved successful fruits in the Catholic churches of England and Swiss in 1960'. Fourth, 'Riturigical reformation' and 'Acceptance of modern art' had been officialized and generalized through the second Vatican Council(1962-1965).

This study analysed national data of manpower supply for physical therapists in Korea. Based on the comparative analysis results of the future demand and supply, as of May 1998, it is estimated that there was already an oversupply of physical therapists in Korea. This oversupply is expected to continue even though there would be an increase in hospital beds, rehabilitation facilities for the elderly, and nursing homes. Thus it would be desirable to cut down the number of students admitted to physical therapy schools each year. Our estimation shows that the Ministry of Health and Welfare must take measures to reduce the supply of physical therapist as soon as possible.