This paper investigates into a lost koˇmun'go tablature attributed to Soˇnghyoˇn callcd hyoˇnguˇmhapjabo[現金合字譜]. based on evidence drawn from hyoˇnguˇmhapjaboso written by the same author. Up to the present, the historical value of hyoˇnguˇmhapjabo[現金合字譜] has been largely overlooked by most Korean scholars. However, an introduction to this document provides important insights into the state of koˇmun'go music during the 15-16th century. Besides, the koˇmun'go tablatures from 16-17 centuries indicate that even prior to Kumhapjabo. the earlist extant koˇmun'go tablature. there was another notational system for the instrument and that Soˇnghyoˇn was possibly the editor. This allows present-day scholars to make some conjectures regarding the possible nature of the lost noation. This study, after examining the various writings of soˇnghyoˇn and other 16-17th-century sources, reconstructs the background and the contents of hyoˇnguˇmhapjabo. With the aid of his brother, a connoisseur of music. Soˇnghyoˇn. was able to learn the arts of koˇmun'go from the contemporary master Yi Ma-ji(이마지). After this initial contact, soˇnghyoˇndvoted his to music. occasionally learning from and exchanging artistic ideas with masters like Yi Ma-ji. Kim Pok-kuˇn (金福根). and Choˇng Ok-kyoˇng(鄭玉京). From as early as 25 years of age. Soˇnghyoˇn was reknowned as an authority in music, which led him to hold an important position at the Changakwon. after being appointed a goverment official. It was during this period that soˇnghyoˇn was exposed to Chong In-ji's influence and his important book Yulnyo-sinso(律呂新書). which further expanded his knowledge in music. Such a long period of accumulating knowledge in koˇmun'go music foregrounded soˇnghyoˇn's invention of a koˇmun'go notational system and his publication of hy on gu mhapjabo. Therefore one can safely conclude that his work epitomizes his in-depth understanding of the koˇmun'go tradition and that he intarded it as a solution to his life-time concern that the traditions of koˇmun'go master were dring without being faithfully transmitted. The tablature was intended to serve the needs of students who learned koˇmun'go without neccedssarily having a teacher to guide every step. The actual content of hyoˇnguˇmhapjabo is surmised to have been comprisad of yoˇmilnak, pohoˇja, kamgun'un, halnimbolgok. Taeyoˇp. and pukjoˇn The introduction to kuˇmhapjabo states that there was already a tablature before the mid 16th century. with a rather inconsistent notationa system and that kumhapjabo is merely a re working of that prototype with the addition of a few new pieces. This points to the possibility that the system at issue is actually S oˇ nghyoˇ's hyoˇng uˇmhapjabo, of which kuˇmhapjabo is simply a revision. There soˇnghyoˇn's hyoˇnguˇmhabjabo, although lost, bears the historcal significance of having been the very first koˇmun'go tablature ever written in the hapjabo notational system. Further, the existence of an earlier tablature than Kuˇmhapjabo(琴合字譜) may help explain the structure of the pieces contained in kuˇ mhapjabo that are presumed to have had a longer history. (November 9, 1997)

Until early 20th century study on various works had been focused on melody, rhythm, or harmony. Recently, however, metric has actively been studied among many music theorists. A typical type of symmetry commonly found in pre-18th century works is simple in a way that words are paired every so often. This pattern had been diversified with the adverse of Wiener Klassik era when the theoretical work on symmetry began systematically. Koch and Naegeli laid foundation on the study of symmetry and the concept was further developes to include even a spacial symmetry suggested by Riemann at the late 19th century. Later on the early 20th century a diverse application of symmetry and asymmetry was treated importantly in 12-tone music. There are three types of symmetry. The first type is a rotational symmetry along the horizontal axis. The second type of symmetry is a horizontal-moving motif along the vertical axis. And the third one is a mirroring type along any line or plane. These are presented in various forms such as motif iteration, translation, sequence, inversion, retrograde, retrograde inversion, augmentation or diminution. This article presents a detailed analysis of "Ludus tonalis", a Hindemith's work for piano, from the viewpoint of symmetry techniques. In his book "Unterweisung im Tonsatz" which publisched in 1942, Hindemith was trying to prove his theory with the case of "Ludus tonalis". The work begins with praeludium and ends with postludium. Here the postludium is simply a half rotation of praeludium and this is, therefore, a typical case of retrograde inversion. There are twelve fuges and eleven interludiums between praeludium and postludium. A diverse form of symmetry are found in both inter-fuge and intra-fuge relation.

The masters program of the elementary music education in the national university of education has opened since 1995 in Korea. Only 3 national universities of education are offering this masters program and 4 more universities are to follow. Because this program is just at the beginning level, it is the time to present the idealistic elementary music education curriculum for the masters degree. The process of the development of the curriculum had 3 steps: first step was to compare all 7 masters programs of elementary music education; second step was to compare 4 American elementary music education curricula for the masters degree; third step was to draw the common elements from the comparison of the elementary music education curriculum between Korean and American. The results of the analysis are: 1) both curricula from two countries have 4 common courses of music education such as elementary music education, foundations of music education, research in music education, principles of music education or psychology of music education; 2) both curricula offer music performance, ensemble, music history or music theory. Thus, these courses are included into the idealistic elementary music education curriculum for master degree along with the Korean music education.

The purpose of this study is to examine the happy relationship between Richard Wagner and his royal patron, the Ludwig Ⅱ in Barbaria. The main portion of this study is to explore the multi-faceted nature of the Barbarian King: that is, Ludwig Ⅱ as a political leader, an art-loving patron and a dreamy platonic lover with homo-sexsual inclinations. What are the political situations in western Europe, including Barbaria, Prussia, and Austria in the second half of the nineteenth century? What are the historic consequences of the king's unconditional love toward Wagner's music? What is the conception of German national hero and how is that conception related to the characters in Wagner's major operas? These are the questions to be answered here.

Medici history (1400-1748) covers the time when the political power in Europe gradually shifted from the divided states of Italy to the northern countries. During this period, Medici influence was essential to the development of Florentine cultural and political aspirations. Understanding of Medici musical patronage is spotty throughout the course of Italian history. This article, thus, focuses on the musical support of the Medici family during the Renaissance era. Some of the music produced by the composers sponsored by the Medici family includes works in styles new at the beginning of the Baroque period. This is illustrated in the list of intermedios and operas related to the Medici family. Marco da Gagliano's religious motet preserved in the last part of this study also reveals such a tendency.

There is no doubt that pitch intervals are crucial for cognition and memory. For instance, Deutsch (1969) claims that it is easier for us to remember the absolute pitch of the each and every component tones, and, in fact, most people traspose tunes so easily that it is extremely difficult for them not to do so. In most melody studies, therefore, the focus has been on pitch organization. However, pitch intervals are not the only material in a melody and even a simplest pattern of a melody is not merely a collection of intervals. That is, although pitch intervals are very important in a melody, there are other factors as well which must be involved in forming a melody, such as rhythm, note-grouping and harmonic background. The basic assumption underlying the present paper is that music is more than a "collection" of independent elements, but is a "fusion" of those, and, therefore, the separation of one parameter from others (e.g. the extraction of pitch material) is only theoretically, not perceptually, possible. In a melody, for instance, it is impossible for listeners to hear only pitch intervals at one time and hear only rhythms at the next time. People perceive a melody as "a continuous single entity" and that is the very notion of "melodic contour." Then, what is the smallest unit in a melodic contour? From the viewpoint that a melody is not a static object, but a dynamic process through time, there cannot be any independent symbol which can be seperable from its context. In a Mozart melody, for instance, a leap can be a big event and provoke "tension" to the listners. The same progression within a different context, say,in Webem's pointilistic works, the same-interval leap would not provoke any tension. One does not listen note by note or interval by interval. The minimal perceptual unit of the first movement of Beethoven's Fifth Symphony would be the initial four-note motif rather than the individual pitches or interval in the motif. In most melodies, there are such patterns of progression that replicate sequentially. In the present paper, the sequential replication of pitch movement (up and down) is called a "pitch pattern," and that of time organization (long and short), "time pattern," These two respective patternings are essential in a melody, but one does not perceive them as separate. Sometimes there can be conflicts between the pitch and time periodicities that makes the melody "ambiguous" in terms of the clear distiction of phrases. These two patternings, as the wrap and woof, weave the melodic fabric, and what we perceive is the weaved fabric (a product per se), not the weaving procedure or the rules of weaving. The current trend of the scholarship focused on melodies (in both music theory and cognitive psychology literature) can be summarized, in a word, as "pitch-centrism." "Melody" is often considered as "pitch succession," melodic interval is commonly regarded as "pitch interval." and melodic contour is generally confused with "pitch contour." The inter-dependency beween pitch and time domains demands the study on the interactive process between the two different variables, without which the perception of a melody is impossible, and only possible is either the perception of pitch or that of time.

To use as a guideline for the development of a music aptitude test for 4-6th grade elementary school students in Korea, we evaluated the test items of music aptitude tests widely used in USA, in particular, the Intermediate Measures of Music Audiation (IMMA) and the Musical Aptitude Profile (MAP). IMMA was administered to 570 4th grade students and MAP to 1335 5-6th grade students in Seoul and Taegu, Korea. The reliability of IMMA was .85 for the 4th grade. The reliability of MAP was .82 for the 5th grade and .89 for the 6th grade. The mean of item difficulties of IMMA was .83 and that of MAP was .72. More than 75% of IMMA test items have discriminations below .2, and more than 43% of MAP test items have discriminations below .2. These results are significantly different from those of American students. The evaluations of test items of IMMA and MAP that are of particular interest are as follows. Test items with ascending melodies are more difficult than those with descending melodies. Test items with tied notes, rests, dotted notes, and tripples are more difficult. When two adjacent test items use the same melodies as in MAP, they influence each other. In summary, the reliabilities of both tests are high, but they are too easy for the Korean students and too many items have low discriminations. So it is not appropriate to use both tests for Korean students. More difficult test items such as those discovered in this study should be used for Korean students. The different results between Korean and American students indicate that music aptitude is sensitive to cultural difference, for example, Korean students' exposure to Korean traditional music. Therefore cultural difference should be seriously considered in designing a music aptitude test for Korean students.

Baroque music is not only characterized but also classified by the dualism of stile antico and stile moderno. Though the definitions of dualism are different depending on theorists and composers, Monteverdi's theory and practice of prima prattica and seconda prattica are known more widely. From the view point of Monteverdi, it can be said that prima prattica is the contrapuntal style of Renaissance as a technique making music more important than the text and seconda prattica is the homophonic style making word more important than music. These two styles or techniques appeared throughout the Baroque period, but the Baroque period was opened by seconda prattica regarding stile moderno. Seconda prattica was beginning to appear in the Venetian school already at the end of Renaissance, but the embodment of it was realized by camerata of Italy at about 1600. They developed monody to depict the meaning of text clearly and made the new music forms finally come into the world, Seconda prattica became a technique creating new styles or forms that left the style of the previous period. Monteverdi did not make new music with seconda prattica, but his introduction of seconda prattica made a great contribution to the settlement and development of Baroque music. Since Monteverdi led the creative activity from the end of Renaissance to the middle of the Baroque period as we know, his works have all characteristics of prima prattica and seconda prattica. Especially, when we look over the 8 madrigal collections among his works, the first 4 collections were written with prima prattica and the last 4 colletions were written with seconda prattica. Monteverdi's seconda prattica attempts changes not to monophony but polyphony with the new styles and techniques such as homophony, chromatics, dialogue in monodic style and concitato style. Considering the above, Monteverdi could be considered a progressive with conservative inclination. Monteverdi's seconda prattica is understood also in the background of the conservative style. Seconda prattica was used in his madrigal collections(some parts of 4, 5, 6, 7, and 8). These are summerized as follows; (1) From the fourth collection, Monteverdi emphasized the meaning of text by means of monophonic texture and also employed polyphonic melisma for the expression of the text. Chromatics and dissonance do not appear frequently, but those being used are very expressive. Monteverdi showed a turning point of compositional technique for the music of the future. (2) Seconda prattica accepting unprepared dissonance began to appear from the fifth collection. Using the new technique of harmony and continue in madrigals, the new form known as contino madrigal was born. Monteverdi presented this for the first time when he put continue into the last 6 madrigals of the 5th collection. Another characteristic of seconda prattica found in the 5th collection is the continuo accompaniment, and concertato style by the combination and contrast of ensemble and chorus. (3) The 6th collection describes the meaning of the text by means of various musical devices. About half of the madrigals in the 6th collection are madrigal cycles. Lamento d'Arianna and Sestina expressing condolence to Martinelli are among the best known examples. (4) The 7th collection titled "concerto" is consisted of various madrigals for 2, 3, 4 and 6 voices including monody. The instrumental music for sinfonia, ritornello and concertato expression appears frequently. Each madrigal has a continuo melody and there are no madrigals written in the old style. (5) The 8th collection (Madrigali Guerrieri et Amorosi) is characterized by various expression as the title, "war and love" shows. For example, the expression of the first madrigal, Altri canti d' Amor is maximized by 6 voices, enlarged instrumentation and developed concertato style. Monteverdi partially employed concitato style as well as non harmonic tones more skillfully, and also triadic melodies and running repeated motives for the expression of terror, fury and warlike feelings. Monteverdi is the first composer who introduced the theory of Baroque dualism. He also explained the structure of Baroque music applying the theory of dualism to his madrigals. Monteverdi is a composer who lived in a transitional period between Renassance and Baroque, but he did not stay for only playing a bridge role to link both periods and showed a model for mature music employing dualism. Monteverdi not only introduced the theory of dualism but also transmitted sconda prattica to the various new techniques in his madrigals, making a great contribution to the development of dramatic works including opera and new music forms.

Situated in the realm of non-European culture, Korean traditional music has often been treated as an autochthonous and particular musical phenomenon while western music has been dubbed "universal". This dichotomy results not only in the inadequate representation our traditional music but also in the inability to forge a desirable pedagogy of music. One possible solution to this problem may lie in the records of the International Congress of Musicolgy of Utrecht in 1952, where the French musicologist Jacques Chailley declared the creation of an original research field named Philology of Music designed to approach musical languages in an entirely new light. While the novel approach is on the verge of earning progressive recognition in the wider musical community, it does open new visitas on the problem of musical language. Jacques Chailley, born in 1910, played an important role in the French musical world of the twentieth century not only as a musicologist but also as a composer, a conductor, a pedagogue, and an administrator. By creating in 1962 the Department (U.E.R) of Musicology at the University of Paris IV-Sorbonne, he ushered in an imprecedented wave of research in the science of music in France. As a musicologist his contribution was exceptionally vast and fruitful. He explored music ranging from the Ancient Greeks to Messiaen and traversed diverse topics, old Chinese musical theories to French folk songs. His 350 works can be classfied under four different categories - philology, history, education and analysis of music. Of these, the category of philological research occupies the place of greatest importance by far in Jacques Chailley's scholastic career. He borrowed the term "philology" from literature, although in fact, he was not the first who applied the term to music. At the end of the nineteenth century, Italian musicologists used the word philology for their studies on the relationship between text and melody. But instead of adhering to the narrow sense of the teminology, Chailley broadened the concept by following the examples of Ferdinand Brunot, linguist and Henri Focillon, an art historian. Their philological methods showed him how seemingly meaningless facts can become a clue not only for understanding the spirt of a society or epoque, but also for finding affinities among dispersed historical and cultural events. Chailley's approach resembles that of philologists of linguistic. Both disciplines do not content themselves with syntactic analysis but make use of what might be termed depth analysis, such as studies of evolutionary process and semantic synthesis. What Chailley attempts is not so much a comparative description of simple musical phenomena as a discovery of universal laws out of evolutionary changes. He lets us understand the fact that artistic and cultural expressions, be they European or Asian, are rooted in the broader linguistic contexts transcending any particular time and space. Realizing the tensions between traditional and modern music, and conscious of the necessity of a universal framework for explaining Western and non-Western music, we hope that Chailley's works will engender fruitful insights for musical creativity and research.

Now is the time when the history of hymns in Korea is on the other side of 100 years, which means that we are in an urgent need to develop genuine Korean hymns using our own national music and tune. Therefore, it is needless to say that we should be interested in composing aboriginal hyumns in the sense of establishing the identity of Korean hymns. The things that we have to study in a way of desired direction in the aspect of the themes and methodology is; 1. to feel the general emotion of Korean people. 2. to characterize the traditional music in Korea on the basis of settlement in the first hand and the modernization afterward. 3. to establish national characteristics and historical consciousness. 4. to compose such hymns that the pulse of the public, containing the spirit of Korea, runs through it. 5. to compose such hymns that the public at large love to sing. Suggesting the various methodological basis above, I believe that such good hymns will be composed in the sense of religious art, a mode of modern living, public universality and musically valuable techniques in the aspect of Koreanization.

Korean society is passing through a transitional period of great changes, and the musical community is no exception. Since the conclusion of the Uruguay Round trade negotiations in 1993, competition is everywhere and Koreans are under mounting pressure to get ahead, overcoming new challenges. Like it or not, there is no avoiding the competition in the changing world order, and the Korean musical community must study ways to respond to international trends. This essay is therefore aimed at providing a new approach to the Korean music history to the Korean musicians in order to enhance their historical consciousness. Under the circustance of recent trends for the World Trade Organization(WTO) and Organization for Economic Cooperation and Developoment(OECD) in Korean society, the author proposes a suggestion to the music intellegences: what they have to do for the future musical world in Korea. The paper deals with 1) Introduction: the Reason why the History of Korean Music should be Reconsidered, 2) The Acceptance of Foreign Music in Ancient Period, 3) Musical Activities in China and Japan by the Three Kingdoms' Musicians. 4) The Hyangak Tradition in the Koryo˘ and Choso˘n Dynasties. 5) The Distortion of Historical Consciousness during the Japanese Colonial Period, 6.) Conclusion: A Proposal for the Subjectivity of Korean musicians. In conclusion, the author emphasizes the significance of restoring the subjectivity of Korean musicians lost during the Japanese colonial period(1910-1945) and post-liberation period in order to make a contribution to the historical development of Korean music and to participate in international music activities.