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.

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 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.

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.

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.

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.

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.