The aims of this study are to enhance musical thinking through solfege activities.The progress idea of musical thinking in process has important implications for the performer and the music teacher in that it calls our attention to important issues such as the purpose of musical comprehension through utilizing the system of solfege learning.In regareds to the Koda'ly choral method, functional melody and harmony of solfege materials are approached through singing practice and ear training exercises as well as through more intensive structural analysis of excerpts from solfege exercises, masterpieces and their stylistic characteristics.In this study, solfege activities are categorized in three parts.The major three activities are (ⅰ) concern about musical reading and inner hearing.(ⅱ) developing harmony and form with group work.(ⅲ) imagery to help memory.Materials along with fragments of the Koda'ly exercises, the solfege activities excerpts from the late Renaissance, Baroque and Viennese Classical and Romanticperiods. It is closely tied to studies of materials and activities of learning sequences in solfege teaching.Aspects of solfge activities enhance students musical and pedagogical experiences by means of gradually developed Knowledge.In conclusion, utilizing the system of solfge learning develops musical thinking and the mature of choral activity. It is hoped that this study will sere as an opportunity to help develop musical understanding and to experience music itself.

This study provides a possibility of analysing rhythmic attributes of contemporary music through contour theory.The early idea of pitch contour occured as early as 1948 in the writing ofcomposers such as Toch and Schoenberg Over a decade later, the work of Charles Seeger, Charles Adams, and Micczyslaw Kollinski set forth the theories of contour analysis But, in the music theory, the concept was formalized by Robcrt Morris Michael Friedmann, and Larry Polansky, Elizabeth Marvin and Robert Morris, in particular, have signiflcantly developed the analytical methodology with which to apply the contour thory.contrast to the previous results of contour music analysis, which focused onpitch element, this analysis presumes that the rhytbms also show similar characterTo prove the hypothesis this thesis re-classified the Elizabeth Marvin and Noel Painenr's rhythmic analysis theories and adjusted the result into Stockhousen's In freundschaft. As a result the number of rtythmic characters that continuously appear in contemporary music were found Also, the possibility of defining similarities of ythmic element through various methods by adjusting the theories including inversion and retrograde, that are similar to set theory, was found.The contour theory will be a good example of analysing rhythms in contemporary music that were believed to be inconsistent in the past.

The aim of this paper is to examine education programs of music at the ArtSchool of Yanbian University, an academic institution for ethnic Koreans living inChina, and to present the outlook for and ways to improve the school's music education.To do so, this paper looks into first college education offered to Ethnic Koreans and secondly courses and goals introduced by the School of Art of Yanbian University. Thirdly, this paper deals with courses provided by each department of the school before proposing ways to improve the music education in the future.This research contains an in-depth analysis of education offered by the Yanbian Art School in 2001 centering on music programs. The school comprises four colleges of music. fine arts. dancing arts and drama and the Music College has been growing steadily since it was promoted to a college unit in 1993.and now has some 70 professors, 10 administrative staff and 700 students. So far about 350 music majors have graduated the school and recently a master's degree course wasopened.The music college consists of 3 departments - Music Education Departmentmostly aimed at fostering music teachers, Music Expression Department for students wishing to become musicians and Composition Technique Theory Department focused on nurturing composers and conductors. Students are judged by course scores, field research, practical training (ranging from presentation, to work production and teaching training) and thesis. Of the above, course scores are known to account for a relatively larger past of the total evaluation compared to other music schools.The last part of the paper presents ways to further develope and improve the music school as follows.First, the school must reduce the credits allocated to regular teaching courses and instead increase credits for basic music education and compulsory courses, while downsizing total credits in general.Second, the school must add popular music and video music departments to the xisting programs so that students keep in touch with modern trends music.Third, the school must promote exchange and field study programs through presentation, filed experiments, overseas study programs and credits for exchange programs.Fourth and finally, the school must create an environment where professors are committed to research work, as well as extend support for professors so that they can enhancc their knowledge and teaching skills.

The form of the first movements of Mozart's Concerto for T재 pianos andOrchestra, K.242(1776) and Concerto for Three Pianos and Orchestra, K.365(1779)is the topic of this paper, from the point of views of Johann Christian Bach'sConcerto for Harpsichord and Orchestra, Op. 7 as a model and of Robert Levin'sformal skim of Mozart's mature piano concertos.Among concertos composed in Salzburg during the same years, there is no significant difference in formal organization. The double and triple concerto havesome common features. The concertos are based on the three-tutti from: opening,middle, and final. The layout of thematic materials is very systematic--regular use of sujet libre is a notable feature. The placement of half-cadence(in the tonic anddominant) is rather regular and important. The duplication or proliferation of the closing material are found. The formal organizations of the first movements of these two concertos follow not only Mozart's model concertos, J. C. Bach's Op. 7,but match well with Levin's formal skim of Mozart;s mature solo piano concertos.

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.

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.

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.

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.

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.

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.

In recent years, research on the brain has provided information on how the brain works. Neurologists have been interested in the study of the relationship between music and the brain in normal people. They have tried to determine how the human brain processes musical sounds differently from other sounds. It has been believed that music is associated with the type of thinking in the right brain. But the right brain is not solely responsible for all musical abilities. The purpose of this study was to review the current neurological research in order to show the importance of the use of the whole brain, to give scientific support to aesthetic music education and to determine the implications for music instruction for young children. Musical ability is not a single capacity. Music perception is complex and involves multisensory, emotional and intellectual experiences. The musical mind presented in this study is based on the whole brain/mind, i.e., the musical mind functions with the whole brain. Musical training encourages the use of the whole brain in processing musical information. Higher cognitive processes involve the activity of the whole brain. Music can be used not only as a window into examining higher brain functions but also as a means to enhance them. From many scattered research findings, the picture of the musical mind was outlined as understanding the functions of the brain in music. The formation of the musical mind is very important in aesthetic music education for young children because of its contributions to the development of the aesthetic potential. A holistic approach to music education proposed in this study is based on a sense of wholeness having two basic ideas; the musical mind using the whole brain and an aesthetic experience focusing on wholeness. Holistic education nurtures the development of the whole person. The aesthetic domain is an area in which music makes unique contributions to the development of the whole being. This concept is now reinforced by current neurological research which supports the viability of the whole brain/mind. The early years are very important since it is the time when the malleable mind is being formed. Research findings provide clear implications for music instruction. Researchers emphasize that the emotion is very important, that the brain's ability for learning is infinite, that enriched environment and opportunity are very important, that early music training helps remodel young brains, and that music instruction has an effect on other types of intelligence if the brain is exposed to music in the children's early years. Aesthetic music education is comprehensive education. Music education is not a process for providing a number of professional musicians or music educators. Rather, it is a process for cultivating the whole child/person. This study tried to show the importance of music education from neurological research findings.

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.

The purpose of this thesis is to give a perspective on the music theory of Ancient Greece & Rome through the study of original texts. Nine major theorists' treatises are discussed under the separate title, repectively. And also 7 minor theorists' treatises or theories are mentioned also in the course of discussion in relation to the major one. The rise of Western music theory can be traced back to the time of Pytagoras. His mathematical calculation of intervals set up the long tradition of treating music as mathematical scholarship. And the other branch of music theory was established soon also. That was an empirical one initiated by Aristoxenus who was a pupil of Aristotle. And then these two branches interacted in the course of development of music theory. That is, although most of the ancient theorists belonged to the Pytagorian school, those representatives such as Euclid·Ptolemy·A. Quintilian accommodated some of Aristoxenus' theory. Theorists represented the Aristoxenian school were Cleonides(cf. footnote 3) and Cassiodorus(cf. footnote 23). The topics dealt with in ancient treatises were intervals, scales, modes, scale systems, rhythm, tuning, notation, ethos of music, and Pytagorian concept of music of spheres. Intervals were discussed in depth particularly in relation to tuning (Ptolemy), tetrachord which was the basis of scales (Aristoxenus, A. Quintilian), and modes (Ptolemy, Gaudentius). The scale systems of the Greater Perfect system and the Lesser Perfect system became the norm throughout the ancient times. Of the rhythm, feets mentioned first by Aristoxenus were clearly explained and expanded by St. Augustine. Information on Greek notation relies on Alypius. Ethos of music and the idea of music of spheres were presented in length especially by Ptolemy and Boethius.