This paper shows how do pitch and rhythmic structures interacts in the Webern atonal music to produce a coherent and unified work. This is an interesting and difficult problem to approach. Because of there is no Webern's characteristic routine at the surface level of his music. However it will be shown that beneath the complex surface exists a considerable degree of regularity. This paper shows the proportional graph. Its purpose is to present rhythmic structure in the clearest possible way, detached from ordinary notation with its bias toward traditional interpretation. From the proportional graph and A-R partition, we see the correspondences and relations of various types demonstrated in the atonal composition of Webern. Using the composite segmentation, the pitch class set structure of the atonal work is related to the fundamental rhythmic structures of the work. The composite segmentation represents the harmonic components of the music at the absolute surface level and the segmentation which may take into account than the single voice, which does not encompass the total texture from top th bottom for any segment, and which may involve overlappings. The pitch-class set inclusion relations match the pattern of proportional relations set out in the basic rhythmic structure pattern. The proportion is quite explicitly reflected by the partition. The relations among pitch-class sets in terms of intersections, unions, complements have structural analogues in the relations among rhythmic formations in terms of combinations and partitions of duration. Proportional graph and A-R partition are the tool of atonal music and rhythm structure analysis. we can see the relation between pitch and rhythm at the surface level. However we can look forward to see the further study of pitch and rhythm relation at the middle ground or background level.

Colon Nancarrow has been no doubt one of the most revolutionary composers in studying rhythmic innovation of 20th century music. He experimented rhythmic complexity extremely under the influence of Ives and Cowell and affected other significant contemporary composers such as Carter, Ligeti and later composers. The interest in rhythm is reflected well in about fifty pieces called, Studies for player piano. This paper studied the first composition for player piano, Study No. 3. It aims at the development of Ostinato and the formation process of rhythmic complexity. Study No. 3 is proceeded into two parts. First, Ostinato is the basis for structural, pitch, and rhythmic foundation. Second, perceptual polytempo was generated from various polymeter. As a result, Nancarrow's esthetic goal, temporal dissonance was created.

The purpose of this study is to understand Liszt's music using the intertextuality theory of Kristeva. The intertextuality theory is based on post-structuralism that there might not be a purely new work on any composer's. It is a mere fabricated thing which is reflected by unconsciousness of composer's experiences. Liszt is one of the most influenced composers by literature, philosophy, and art. Especially he composed not a few piano works on poets. 《Mazeppa》is the one he composed using poem of Victor Hugo. It comprised intertextual elements of carnaval languages and 'menippea' which Kisteva suggested for analyzing literature. The other conception of 'chora sémiotique' was also involved in his work. As the result of this study, the conversion of diachrony into synchrony in turn and the distinction between carnaval languages and menipea were found to be able to apply to music not only literature. This result would suggest a new significant method, as an alternative of traditional method, in music understandings.

This paper is an ethnomusicological study of composer Kim Chung-Gil, interpreting various analyses and critics regarding his music and philosophy. Examining them, we can find that composers tended to focus on tonal materials and structures adopted in his composition, and that music theorists primarily talked about his perspectives on music. English ethnomusicologist Andrew Killick tried to connect Kim's music to the Korean nationalism prevalent in the 1980s, analysing how Kim incorporated traditional Korean musical elements and environment to develop his own contemporary Korean music. Meanwhile, the composer himself always actively verbalized his opinions about his music and contemporary Korean music. Giving a voice to these various interpretations, this ethnomusicological study is geared to a polyphonic writing on the multi-layered concepts of a person who dedicated his life to develop a true Korean contemporary music. This research will hopefully be linked to a cultural discourse in regards to contemporary Korean music in general.

The purpose of this study is to examine the scope and pattern of influence rhetoric had on Baroque musical rhetoric and to find out what process musical rhetoric took to establish itself as an independent musical theory in that era. The findings are as follows. Baroque musical theorists regarded the essence, purpose, and structure of rhetoric in the same light with that of music and discussed musical rhetoric accepting the broad and detailed concepts of rhetoric as well as its contents. While this reception process accompanied variations of the concepts, definitions, viewpoints, and theories of rhetoric the relationship between rhetoric and musical rhetoric became increasingly tight and systematic. Also, it cannot be overlooked that musical rhetoric, within the framework of Baroque trend, shared the same internal and external aim of rhetoric and continues to develop while reflecting even the detailed semantic changes of rhetoric. Importantly, musical rhetoric, based on the characteristic of musical art being more expansive than language in terms of linguistic and grammatical possibilities, significantly diversified the way rhetorical appearances and technical methods were realized in music. In addition, justification of the homogeneity between rhetoric and musical art itself which cannot be separated into vocal music and instrumental music contributed to both vocal and instrumental music take on equal status.

Accepting the musician as a genius means the concern for outstanding ability of human beings reflects the viewpoint of the emphasis on the artist's individuality, subjectivity, and especially the creativity. In this context, the aesthetics of genius provided the opportunity of establishing the autonomy of arts and the chance of reestablishing the social position of musicians. That is, on the one hand the formation of the concept of genius has a close relation with individual and artistic subjects and on the other hand, is closely related to the development of the Western music. However, does the word "genius" contain just positive meanings? In this thesis, I began with this question and researched the aesthetic meanings of "genius" in the aspect of the artist's subjective identity(subjektive Identität). And I've examined the process and characteristics of the 'identity' in the concept of artist a 'genius' and the relationship between 'genius' and the establishment of the artist's identity in the field of music. In this thesis, I've objectively examined whether the musician could have attained authentic identity as a subject of art as the musician got the recognition of being a genius or not. Then I have thought the internal meanings of representation or the rhetoric of 'artist as a genius'. And I looked on the problems of 'aesthetics of genius' which is so-called 'genius-ideology'. Throughout this process I've critically examined the hidden meanings of 'musical genius' and moreover groped the 'images of genius' which is contemporarily meaningful in the view of these times.

The Fandango is a dance that comes from Spain and its origins can be traced to a rural peasant dance. In the 18th century, the dance spread across the whole areas of Europe. The use of the Fandango by both Mozart and Gluck led to specific formations of tonal and melodic features of the Fandango. Schumann`s Fandango serves as an example of modifying or changing a fixed model of the dance, and also of redefining compositional characteristics, which mean the title of the dance suggesting its true origin. Entries made in Schumann`s diary suggest that the composer took the characteristics of Spanish folklore dance from a vivid Fandango scene in Malkolm, a book written by Heinrich Stefens.

Schumann`s piano cycles arguably constitute his most original contributions to piano literature; he is usually regarded as the inventor of the piano cycle. For many years, scholars did not recognize the special features of Schumann`s piano cycles and, as a result, subsumed them into several other genres. Piano cycles differ in significant ways from suites, variation sets, program music, or multi-movement pieces, even though the criteria for distinguishing them remain unclear. Although recent studies broaden our understanding of Schumann`s cycles, these studies have not sufficiently filled the obvious gap in our knowledge. One of the difficulties of studying Schumann`s piano cycles is articulating what features make cycles different from pieces with similar arrangements. This paper proceeds in three parts. In the first part, I explore how musicians have perceived and described Schumann`s cycles, and how Schumann`s cycles differ markedly from pieces with similar arrangements. After surveying relevant theoretical studies, I develop a classification scheme that sorts the cycles in several different categories, in order to avoid the confusion inherent in comparing pieces from distinct categories. In the last part of this study, I try to demonstrate the relationship between three types of Schumann`s piano cycles and Romantic literature. In the process, I include detailed analyses of some individual movements from Schumann`s piano cycles.

This article is concerned with the theory of mimesis that had impact on the history of art from the antiquity to modern times. It tries to show its connection to the historical change of the poiesis concept, and purposes thus to approach a hitherto little known background of music history. Furthermore it seeks an answer to the question for which reason the theory of mimesis influenced the history of art for so long and so broad in the historical discussion on the legitimacy of art.

This paper focuses on the compositional tendency of Cheng Mook Kim, who is one of the outstanding composers in Korea. He has been writing a lot of works in various genres. His early works are influenced by twelve-tone technique of Schoenberg and by proportional structure of Bartok. Earlier, they are based often on pentatonic scale and harmony. Later he used frequently the traditional Korean style in choice of instrument and titles. He has tried to combine the Western musical techniques and Korean emotions in the Eastern manner. This paper approached his works with music poetics, which become significant again in twentieth-century music. The interpretation of composer himself expands the perception of the `difficult` contemporary music.

Scriabin`s output is often split into three periods.: Op. 1-29 (1886-1901), Op. 30-57 (1903-1908), and Op. 58-74 (1910-1914). He made a gradual transition to atonality, beginning as early as 1903. It is precisely between the second and third periods when we begin to observe a significant shift taking place in Scriabin`s way of conceiving his music. The purpose of this paper is to document the decline of tritone in Scriabin`s music primarily found in the transitional part of the composer`s musical career. While the theory was formulated by Russian music theorists, it has had a direct influence on various ways of understanding Scriabin`s complicated later works. The second chapter deals with the tritone in Scriabin`s transitional period. The most important harmonic function in Scriabin`s transitional music is a ♭Ⅱ-Ⅴ progression. The third chapter explores Scriabin`s music from the viewpoint of Russian music theory. I focus primarily on the work of three Russian theorists, namely, Yavorsky, Dernova and Kholopov, and how their works are related to the tritone of Scriabin`s music. Both Dernova and Kholopov carry over Yavorsky`s theory when discussing Scriabin`s problematic compositions, and one gets the sense. The merit of Russian music theory lies in the methodology. In particular, Scriabin`s Poeme, Op. 59, No. 1 is examined by using Russian music theorists`s views. The Russian theorists offer a new system of analysis, thereby allowing us to have an intimate and perspicuous understanding of the late Scriabin`s mechanics.

Handel`s Oratorio, Messiah has been generally perceived as a choral church music for Christmas season. Such perception, however, does not concur with Handel`s original conception for his English Oratorio as an entertainment performed at secular places during the Lent. One of the most obvious deviations from two-part Italian model is English Oratorio`s three-part construction. In addition, the three consisting parts of Handel`s Messiah reveal different structural models, respectively: the first part closely follows the constructive principle of contemporary oas sesson. with its regular recitative-arn.-chorus sequences; the second part, with its emphasi durichorus and quasi-testo tenor solo, reveals a strong influence of Gsoman Passion tradition; the shortest third part includes a denouement which clearly shows all the traits of an English Coronation Anthes aIn addition to achieving a perfect balance between the vocal solos and choruses, Messiah is a culmination of all these fertilizing models. These models reflect Handel`s career as an international composer. He began from the German soil, achieved complete assimilation of Italian tradition, and worked as a quasi-official court composer for the House of Hanover. The overall structure of the oratorio, however, was not conceived by Handel but Charles Jennens, the librettist of Messiah. Jennens`s compilation of entirely biblical extracts provides the general contour for the whole work, while Handel was responsible for the actual compositional decisions for the musical characters of each movement.

This paper examines some formal aspects shown in Allegro movements from Handel`s violin sonatas, comparing with Corelli`s solo violin sonatas, published in 1700. In Corelli`s sonatas, Allegro movements with a repeat sign are more prominent than those without a repeat. In the movements without a repeat, there is no structural dominant at the end of the second main period and no reprise in the beginning of the third main period; on the other hand, in the movements with a repeat, the third main period begins with the reprise in the original key just after the second main period ends with vi or iii. In Handel`s spurious sonatas, HWV 372, 373, 368, 370, reprise is also shown after the cadence over vi or iii. But there is a great difference between Handel`s and Corelli`s: In Corelli`s, there is no retransition before the reprise, while the retransition leads to the reprise in Handel`s spurious sonatas. Handel`s reliable sonatas, HWV 361, 364a, 359b, 371, show advanced events in formal aspects, giving distinct differences with his spurious sonatas: they have retransition toward the structural dominant and reprise, which are not presented in the suspicious sonatas. This study would provide a logical base to estimate which pieces are real or spurious through the formal analyses.

This paper begins with an assumption that the performer's interpretation could be influenced by his or her diverse analyses. Among the various elements that can have an effect on the analyse, the decision of a structural harmony and the rhythmic issue that originater from a conflict between tonal and durational rhythms are the primary concern of the paper. The paper tackles the issue of which dominant will be selected as a more structural one in an analytic situation, in which a half cadence is followed by the other half cadence. After discussing strengths and drawbacks of the readings, I cautiously propose performance suggestions that can be derived from each reading. I interpret the meter and measure by considering rhythmic aspects of a piece and finally suggest rebarring a passage to a better understanding. I also discuss how a decision of a long-range structural harmony that governs subsequent harmonic succession can influence the interpretation and performance of a performer.

The purpose of this study is to explore historical and cultural backgrounds of early twentieth century in Paris, France and examine musical characteristics of selected songs of Les Six through analysis. This study investigates songs of Les Six, which possess valuable learning aspects technically and musically and present artistic aesthetics of early twentieth century France, but have not been studied suffciently as an appropriate twentieth century French repertoire for singers, teachers, and music researchers. Les Six was a group of talented and young composers gatering under Erik Satie (1866-1925) and Jean Cocteau (1889-1963) pursuing true French music that was independent from German Romantic and Debussy's impressionism. Also, Les Six has been recognized as representing composers of contemporary French music in the early of twentieth century. The study briefly examine the cultural and historical background of early twentieth century France and the formation and aesthetics of the group of six composers, Georges Auric(1899-1983), Loise Durey(1888-1979), Arthur Honegger(1892-1955), Darius Milhaud(1892-1974), Francis Poulenc(1899-1963) and Germaine Tailleferre(1892-1983). The selected songs of "Les Six" present a unique style such as neo-classical simplicity, embracement of tradition and modern qualities, and integration of characteristics of popular music, refined and controlled expression, and suble relationships between text and music.