In the early twentieth century, many eastern European composers show the pervasive absorption of structural melodic characters of folk sources into more abstract contemporary music idioms. Pitch structure in that century music has become more explicit in recent analytic writings. Scriabin derived his compositional materials from more abstract sources that were identical to those found in the folk sources. Scriabin moved towards an increasingly systematic handing of pitch set constructions. This paper proposes a theoretical model for a study of collection in post tonal music. It is the aim of this paper to focus on collection in Scriabin's Op. 58, Feuillet d'album(1909). His output is often split into three periods. : Op. 1-29, Op. 30-57, and Op. 58-74. Op. 53-58 pieces are of primary importance in Scriabin's transition to atonality. It is precisely between the second and third periods that something very important happened in Scriabin's musical mind. In particu]ar, his Op. 58 was written while Scriabin was composing Prometheus. The composition employs 6-34 : in a sense the piece is a study of the properties of 6-34, with which Scriabin wad the preoccupied. The most famous variety of this chord is known as the Mystic, or also as the Prometheus as it is ubiquitous in that work. It should be emphasized that Scriabin's small pieces stand in a special relationship to his larger works. Thus the links between his last are strong, as will be seen in the course of this paper.

본고는 이황과 조식의 문도들에 의하여 그 학문이 계승 발전되면서 한국적 성리 철학의 틀이 잡혀가고 있던 17세기로부터 성리학이 그 역사적 기능을 종료하던 19세기까지에 걸쳐 강우지역에 나타난 유학의 흐름과 쟁점에 대한 간략한 정리이다. 17세기 초반 강우학파는 鄭仁弘을 중심으로 정치적·학문적 극성기를 누렸으나, 정인홍이 조선성리학의 정통으로 간주된 이황을 비판하고 패륜적 정치사건에 휘말린 일을 계기로 하여 급격히 몰락하게 되었다. 그 후 거의 한 세기에 걸친 시기 동안 강우 유학은 그 餘震의 치유에 매달려야 했으며, 심각한 학문적 침체기를 맞게 된다. 17세기 후반에서 18세기 동안 강우지역은 학계의 소외지역으로 남아 있었으며, 몇몇의 학자들에 의하여 간신히 명맥이 유지되는 수준을 벗어나지 못하였다. 퇴계학과 畿湖의 주기학이 강우를 점령하고, 당파적으로는 남인과 서인이 됨으로써 강우가 본래 가지고 있던 학문적·정치적 정체성을 상실하게 되었다. 긴 어두움이 지나고 19세기에 이르자 강우 유학은 다시 크게 떨치고 일어나는데, 그 주력은 退溪學과 호남의 蘆沙學의 영향권 하에 있었다. 그 특징은 理를 중시하는 학풍이 다른 어떤 곳보다 강했다는 것이며, 이는 성리학적 신념을 고수하는 유학자들이 서세동점의 시기에 대응하는 가장 완고하면서도 근본주의적인 방법이었다. 이를 통해 절의론의 신념을 강화한 강우의 유학자들은 비록 시대의 변화에 탄력적으로 대응하지 못했다는 한계는 있지만, 보수적인 유학자들이 행할 수 있는 가장 적극적인 방법으로 국권상실의 시대에 자기에게 맡겨진 임무를 수행해 갈 수 있었다. 그것은 유학의 기능이 종언을 고하는 시대를 화려하게 장식하는 불꽃과 같은 것이었다.

16-17세기 朝鮮은 정치나 학술의 측면만이 아니라 敎育制度 상으로도 새로운 변화가 나타나는 시기이다. 15세기말 전후까지 朝鮮은 官學敎育을 강화하는 데에 많은 노력을 기울였고, 그 결과 成宗 대까지 각 府, 牧, 郡, 縣 마다 鄕校가 건립되기에 이르렀다. 그러나 16세기 중반부터 관학의 보완이자 대안인 書院이 등장하기 시작하면서 이전의 교육제도에 일정한 변화가 나타나기 시작하였다. 본 고는 교육시스템을 중심으로 한 巨視的인 觀點에서 이 시기의 변화 양상과 그 의미를 살펴보려는 시도이다. 이를 위해 조선 전기의 교육체제를 구성하는 한 중요한 요소로서 敎育中心圈域에 주목하였다. 교육중심권역이란 都會라는 제도를 통하여 연결되어 있는 각 지역의 중심향교와 인근 향교의 권역을 말한다. 忠南地域의 변화 양상을 분석한 결과, 이 지역은 15세기부터 16세기 전반까지 公州牧과 洪州牧 등 2개의 중심향교를 중심으로 교육권역이 형성되었으나, 16세기 후반부터 공주목 동부(孔巖 및 儒城地域)와 동남부(連山地域)에 새로운 교육중심지가 부상하기 시작하여, 17세기에는 기존의 교육중심권역이 거의 무력화되고, 동부 및 남동부지역으로 교육중심권역이 재편되어 갔다는 점을 확인하였다. 그리고 이러한 변화는 단지 敎育圈域의 變化만이 아니라, 관학교육체제가 지향하는 敎育機會 擴大의 公的 原理가 後退하는 결과를 의미한다고 보았다.

It is the purpose of this study to document the decline of voice leading concept for the twentieth-century tonality.In this essay I shall try to show how Shostakovich achieves a sense of unity through the association of interval structures made up of linear melodic patterns and of the voice leading provided by accompanimental harmonic figures.Some twentieth-century music seems to invite the use of traditional analysis.Lots of music by Stravinsky, Bartok, Berg, and even Schoenberg has a kind of tonal sound, at least in certain passage. But on closer inspection, we generally find that tonal theory has little to tell us about most twentieth-century music. When twentieth-century composers create a tonal sound, they usually do so by using non tonal means. And for a piece to be tonal, it must have two things: functional harmony and traditional voice leading. But, a piece is not tonal, does not mean it can't have pitch or pitch-class centers. All tonal music is centric, but not allcentric music is tonal.Post-tonal voice leading models are 3 patterns. The first has its bases in the theories of Heinrich Schenker. The second has its the pitch-class set of Allen Forte and others. The third has its bases in recent theoretical work by David Lewin. The prolongational analysis identifies some tones as structural and others as embellishing. Associational analyses linear projections of harmonic type from musical surface. Transformational model shifts our attention from the chords themselves operations, transformations, that connect them.Nowadays, many composers are again exploring the possibilities of synthesis of tonal and atonal procedures. The time is ripe to approach voice leading techniquesanalytically.

8-9세기는 무슬림 상인의 주도로 페르시아만에서 남중국까지의 해로가 활성화되는 시기이다. 동서교류에서 해로가 육로를 능가하는 이 시기에는, 이 간선 해로를 따라 그 동단인 동아시아해역과 그 서단인 지중해 해역이 설정되었다. 먼저 간선 해로에 관해, 기존 연구에서 미진하게 검토한 페르시아만에서 인도 동쪽 바다까지의 왕복 항로와 아랍선박을 검토하였으며 심해항행이 진행되었다는 것을 지적하였다. 다음으로 이 시기에 동아시아해역의 해상무역이 장보고의 활약으로 활성화되었던 것과는 달리, 지중해 해역은 로마제국 시대의 활기를 잃고 상대적으로 위축되어 있다는 것을 지적하였다.

18세기 영국은 시대적 변혁기였다. 영국은 대외적으로는 단속적으로 전쟁을 계속해야 했고, 내적으로는 산업 사회로 전환하고 있었다 영국의 선주들은 계속된 전쟁과 선박량의 팽창으로 인해 선원 부족 문제에 직면하였다. 영국 선주들은 이에 대해 척당 선원 수를 줄이고, 선원의 임금을 올려줌으로써 해결하고자 했다. 18세기가 경과하는 동안 영국 상선의 척당 선원 수는 지속적으로 감소하였다. 1710년 100톤급 선박 1 척당 22-23명이던 선원수는 1810년에는 5명으로 급감하였다. 이처럼 척당 선원 수가 감소한 것은 조타기, 양묘기, 권양기 등의 기계가 도입되고, 선박과 범장의 개량이 꾸준히 이루어졌기 때문이다. 게다가 18세기 내내 단속적으로 전쟁이 계속되었기 때문에 선주들로서는 적은 선원으로 선박을 운항할 수 있는 방법을 강구하지 않을 수 없었다. 또한 선주들은 임금을 올려줌으로써 선원들을 해상 생활로 유인하고자 했다. 18세기 중엽25실링에 불과했던 선원의 임금은 프랑스혁명전쟁기에 이르면 5-10파운드까지 치솟았다. 척당 선원 수가 감소하고 선원의 임금이 꾸준히 상승한 것은 전쟁이 지속된 18세기에 영국의 선주들이 급변하는 해운 환경에 적절히 대응한 결과였다고 할 수 있다.

This study examins the prestigious scholarship genealogy and trend of scholars who lived in the right side of Kyungsang province in the 19th century. In the right side region of Kyungsang province in 19th century, Lee Jin Sang(李震相) and Kwak Jong Seok(郭鐘錫) overtured the theory that the mind(心) is just Li(理). The theory criticized an old theory that the mind includes Li and Ki(氣) or the theory that the mind is just Ki. The theory is unique on the basic understanding that the mind is ruling Li and put an emphasis on the reality of the mind. The theory is for the quest of an answer in the Ki-centered theory(主氣說) which dominated the period. In the later half of 186, the right side region of Kyungsang province accommodated many other theories from another regions. First of all, Huh Jeon who is from Pocheon Kyunggi province promoted the scholarship trend of right side of Kyungsang province and the studies of etiquette. In addition to that the Li-centered theory(主理說) which was suggested by Ki Jeong Jin from Jeol la province was actively accepted. The scholars from right side region of Kyungsang province also accepted Lee Hang Lo's Li centered theory. Thereby the scholars who lived in the right side of Kyungsang province united themselves setting them free from Confucian party oriented mind or scholarship genealogy. The scholars who live in the right side of Kyungsang province held many seminars. And they also held Hyangeumjurye(鄕飮酒禮 : banquet for identifying young and old). In Sancheong. 1877, seminar and banquet were the example in case. By taking this opportunity, the scholarship trend of promoting Nam Myeong(南冥 : representative Confucian scholar) vividly revived. Also by taking the chance, the scholars who lived in the right side of Kyungsang province newly established their theory and set to put their best effort to promote and research the meaning of Nam Myeong' philosophy. In te following year, they held seminar at Seon Seok temple(禪石寺) in Seong Ju. The meeting also has an important meaning to unite the scholars who live at the right side of Kyungsang province. The seminar and scholar's activity at the right side region of Kyungsang province in the 19th century has greatly contributed to the confucian independent movement by uniting representative of confucian scholars all through the nation in 1919.

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 culmination of the culture in the Josun Dynasty was reached in the academic achievement of Sik Jo (pen name, Nammyung : 1501 - 1572). His work marked a moral boundary in academia at that time. When we consider his great fame, it was natural many scholars and his followers make him their scholastic and behavioral model. These followers formed the Nammyung School and they took active parts in politics in and out of government service until King Sunjo and Gwanghaegoon. But the execution of Inhong Jung (pen name, Rae-Am : 1536-1623), leader of the Nammyung School and mentor of Gwanghaegoon, served as a momentum for decentralizing the school at the time of The Enthronement of King Injo subsequent to dethronement of King Gwanghasgoon in 1623. Hongdo Ha (pen name, Gyumjae) then acted on behalf of the school when the school had lost its cohesion. The year 1728 witnessed the Moosin Year Disturbance led by Heeryang Jung, which was one of the loud cries raised by confucian scholars to regain the positions they had held before the Enthronement of King Injo. Moreover the Noron Party. the group of followers of Siyul Soug and also the party in power, forced the Namin Party, another party in this area, to support it, while it prohibited the Namins from taking any state examinations by law after the Moosin Year Disturbance had been subdued. The Noron Party designed to attract the Namin Party to their side by disturbing its cooperation with the Soron Party, the followers of Jung Yoon, a disciple of Siyul Song's. With the Noron Party's intricately planned policies and efforts, most pepole in the Namin Party in this area became part of the Toegye School in the end. This paved the way for combining the right side and the left side of the Nakdong River as a natural result. There were few eminent scholars or government officials in high positions from the right side of the Nakdong River. In the meantime many scholars had come to stand by either the Noron Party or the Toegye Schoo. But the majority of Confucian scholars' respect for Nammyung had not faded away and his books were still being published. King Jungjo finally granted Nammyung a Royal Oration for the Sacrificial Rite in 1796 and conferred government positions on his descendants after over a century of persecution. The royal edict triggered the revival of the scholastic trend in this area and built a promising foundation for thriving academic achievement in the 19th ecntury.

For the development of Eco village in Korean rural area, it was focussed to introduce the rural style which has been developed intensively in European countries such as Denmark, England and Germany. As the main concept for Eco village it was explained briefly in the paper on the renewable energy(wind power park, bio　mass and solar energy collector and heating system), eco　architecture, methane gas device, living machine(wastewater treatment facility) and organic farming. It was also discussed how important the basic standard and guidelines for organic agriculture to run Eco village environmentally soundly as a whole system and why it is so much essential for the system. For this reason major principles of international applicable standard for organically grown foods by FAO/WHO Codex alimentarius was also shortly described. In the paper the Eco village concept was considered as a suitable model for Environmental Agriculture Districts Project which Korean government is going to establish at rural area in the near future. In conclusion it was suggested that the positive participation of organic farmers, enthusiastic engagement of inhabitants and support strategy of government/NGO groups might play very important role for successful management of Eco village ecologically benign and economically sustainable after establishment.

Dr. Ha's compositional style, up to this point in time of new millenium, may be divided into three periods. His early period reveals both tonal and atonal practice, while his maturing second period shows atonal practice only. The third period since 1990, almost exclusively, has been dedicated to writing music for church. His piano suite, DIABOLUS belongs to the first period written in dodecaphonic stlyle. However, it displays typical Baroque suite formet of four movements. The suite uses a tone row which is systemetically constructed in such a way that the second half of the tone row is the retrograde inversion of the first. The entire composion uses only four rows: O-0, O-6, R-0 and R-6. The four movements are as follows: Praeludium is in unipartite form. Menutto is in composite tripartite form. Sarabande is in simple tripartite form. Giga, which uses canonic imitation, is in composite tripartite form. It is noticeable, as is implied in the title, that the interval of tritone predominates throughout the work. The term "diabolus" is borrowed from the medieval expression which describes the difficulty of singing the augmented fourth interval, the devilish interval. The tone row is strictly used throughout except a few places where three, four and six-notes are used as a group. The use of tritones and note-groupings is outstanding, particularly, in Giga. The significance of this analytical study of Jae Eun Ha's composition lies in the fact that the first hand informations concerning not only the composition itself but also the composer himself may be obtained from the composer, who is still living and active, thereby leaving a valuable material to similar studies to come such as this. It is hoped that such analytical studies on Korean native composer's works may continue in the years to come so that future generations may benefit from enrichment of modern scholarship.