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.

The aim of this study is to achieve a better theoretical comprehension of the 16th century music. The "modal theory" is a problematic term of Renaissance discourse about music. The 16th-century modal theory drew upon and was synthesized with diverse theoretical traditions. The aspects of modal theory that are most directly concerned with a tonal structure are discussions of modes and counterpoint. In this vein, a mode is not only a music-theoretical construct, an inherited category in a fixed set of categories, but also a tonal type in 16th century music that forms a music-analytical construct. Many changes in modal thought resulted in tensions that are reflected in 16th century theoretical writing, musical composition, and editorial practice. A general trend in 16th-century printed collections was from less tonal ordering to more, and the organization of cyclic sets became more and more common according to modal schemes as the century went on. It is important that major composers of the second half of the century adopted the old system of 8 modes. It centers round the compositions and theoretical writings of Gioseffo Zarlino (1517-90), the most famous theorist of the 16th century. Zarlino adopted Glarean`s nomenclature, including the aeolian and ionian modes. Thus, motet, "Ego veni in hortum meum"-which Zarlino had composed a representation of mode 5 in Canticum Canticorum (1540), labeled as ionian in his 1549 motet print, and mode 11 in the 1558 edition of Le istitutioni harmoniche, and mode 1 in the Dimonstrationi harmoniche (1571). This is a fair representation of multi-faceted situation that held away from the 1570s well into the 17th century. A particular 16th century tonal type has evolved into a particular 17th- century and 18th-century tonality.

Korean music educators have wondered when they face with many non-music major university students. The fields of music deal with many areas: performance, music apprehension, music history, music therapy, and music theory, etc. Lecturers have no time to teach such vast areas of musical fields in one semester. Thus a questionnaire regarding non music major students` musical experiences has been provided to 315 students in two universities. The X2 shows us the differences between female and male students` preferences for music. Many students had little experienced in systematic learning for music in their previous schools. Beside regular music courses provided by the previous schools, most of Korean students` music related experiences are limited to play the piano in their childhood. This tendency occurs more frequent to female students than male, since female students had more an experience to play instruments than male students in their childhood. Piano is the most favorite instrument to girls, violins and flutes are the next favoured. Some of their musical activities were largely related to church activities. Other results show that most of male students had little experience to read music score and tend to buy more music CDs than female students. The reason why male students tend to buy some more CDs than female students is maybe caused by their lack of musical backgrounds in high school years through the specific Korean educational circumstances. Most of students prefer listening more instrumental music than vocal music. While female students played the piano, male students had more experience to play the guitar, etc.

This treatise`s main point is to investigate the strategies of the developmental teaching and learning which are valid in the Danso-class of elementary school. Danso has been appointed as a musical instrument to be played in the class of elementary school since the fifth process of the educational course. Although 20 years has passed since then, however, this course is still considered very difficult to follow by most of the students and teachers who should be educated at least more than two times. It is my understanding, therefore, that we should try to develop various ways of solutions that can resolve many problems in Danso course of elementary school by providing the ``universal`` orientation for teachers. The point that we pay attention to in this treatise is that I apply the tonic solfa according to the movable-do system of Kodaly partially in order to improve the unsatisfactory circumstances of the Danso class of elementary school. His method provides us with very efficient means in learning syllable names and reading musical notes in Korean traditional music. In this study, we will see the strategies of the developmental teaching and learning in the Danso-class of elementary school according to the six levels.

If we define improvisation in the Middle Ages as "not noted playing method," we will find clearly their root first in neumas. The decoration neumas Quilisma, Oriscus, Pressus, Salicus, Strophicus and Caphalicus shows different ornaments, which are not to be found no more in the later age. This phenomenon shows a possibility that the not noted playing method in music history was attended. In the case of the Fauxbourdons the are highest voice, which is the Cantus Firmus, and the lowest voice, which runs exactly sixth or octave down, are noted, but the middle voice, which shows a fourth parallel, does not note, but of player supplements. As many think, this middle voice does not stand for 1:1 to the other voices, but those show surprisingly substantial ornaments. The highest development of ``not noted playing method`` is the art of the Diminutio in later Renaissance. The Diminutio means to divide the long note into smaller ornamented notes. It is mentioned in a document first in the year 1552 by Adrian Petit Coclico`s ``Compendium musices`` erw ae, afterwards Hermann Finck`s Practica Musica, Lodovico Zacconi`s Prattica di musica, Giulio Caccini`s Le Nuove Musiche, Giovanni Bassano`s "Motetti, Madrigali et Canzoni francese," Michael Praetorius`s Syntagma musicum III, as the latter in the year 1643 Christoph Bernhard`s Musica Practica. That is approx 100 years continuing ``not noted playing method`` in music history. The improvisation in Middle age and Renaissance begins in decoration neumas in monophonic music, developed than ornament art in Fauxbourdon, than highest development continues to show it in Diminutio.