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.

In this study, the nuances of salicus flexus resupinus were composed using the break of neuma suggested by Dom Euge´ne Cardine. As a result, 19 cases available out of the total 31 nuances could be found in manuscript St. Gall, one of the chironomic neuma system. When they were analyzed, it was found that each desirable nuance could be created through the break of neuma, and particularly, the tones, which the effect of neumatic break took place, were always such as finalis, dominant and mode relative in their modes. It was also disclosed through this study that nuances of more diverse rhythms could be created by expanding the tones before or alter neuma which was composed. Such results may suggest that the nuance composition using the effects of the neumatic break would be applied to express the nuances of certain or desired rhythms and therefore, that it would possibly contribute to the precise revival for performance and melodic analysis of Gregorian chant.

This article depicts Schubert's attempts to find a musical parallel for poetic irony, especially in der Wanderer. Schubert presupposes that the text of the song can reflect in some way "an absollute synthesis of absolute antitheses". However, who can recognize that his depiction of text's irony is same as that envisioned by the poet? Thus, this deals with not only the definition of Romantic irony but also a cursory runthrough of Schubert's setting. As a result, we find that Schubert reflects poetic ideas in his song.

This thesis reflects the relations between words and music in a Korean Hymn, 'Lift Your Eyes And Look to Heaven' written by Park Jaehoon. This song is made on the basis of one of Seok Jinyoung's Poems during the Korean War in 1952 when Korea was confused extremely. The texts consist of Enhancing the reasonability of Christians, who should witness the gospel of full hope in the cries of wounded spirits. This hymn has some following characteristics. The poet uses the repeated phrase at the first and last lines. As a topic the main context of the each paragraph is placed after the first repeated phrase. The important contexts are complemented and expressed from in the second line. This matter includes a theologic ascension focused by the Word Jesus. Each line is contrasted in the view of the total structure. This comparative text is hardly compared with a single paragraph song. Even an uniformed single paragraph can not explain this ascented expression in each distinguished text. For example, why does the writer express the cries of sigh in the seventh measure in the first paragraph and the waters of life in the same measure in the second paragraph. But we can see the characteristic expression which this complicated poem has, Mr. Park would like to give the total form and mood rather than the description of each word. He uses the characteristics and advantages of multi-paragraphic songs, which is proved as the following matters. One of the most outstanding points in common is two sucessive measure structure. The meaning change and complexity of each paragraph are not described directly as a picture but is expressed indirectly by variations which are shown in the repetition of melody and harmony. But the most important matter is the poetic and musical mood in common. The main phrases 'The cries of sigh in real' and 'the demand for improvement' have repeated expressions such as phrases 'Lift your eyes and look to heaven' and 'O believer What will you do', rhythms 'the pattern of sigh' and 'the pattern of calling.' The peak of the third lines have not only a negative word 'sigh' but also the positive word 'Jesus', We can find that this part makes the complement efficient and implies the main words in the last part of the first line. As an exception we can understand that the last phrase of the second line 'the cries of sigh' and the fourth line 'O believer' are concretely described as a picture. This is interpreted as a disadvantage of the limit in multi-paragraph and as a great merit of expression for total mood. In conclusion I dare to say the hymn 'Lift your eyes And Look to Heaven' is a skillful and witted art which resolves absolute or relative problems in words and musi

It is evident that Riemann was famous in music history and theory But in this study the writer made researches only in harmonic theories. His harmonic theory is summarized in harmonic dualism and theory of functional harmonic progression. The major triad is derived from the harmonic series and the minor triad from the mirror inversion of this series, called the "undertone series." Riemann uses the term "clang" to indicate this series. The major triad is thus termed an "overclang" and the minor triad an underclang. The tonic triad is dependent on its dominant and subdominant: every chordal structure can thus be traced back to these functional triads and each triad can be represented by one of its constituent pitches or intervals. In 20th century Schenker and Hindemith is related with the theory of funtional harmonic progression. There is similarity between Riemann's three tonal functions of tonic, dominant, subdominant and Schenker's Stufen and Hindemith emphasis on tonal center of a degree progression. In conclusion, it is quite evident that Riemann' harmonic theories are still very much alive today. It is the writer wish that this thesis may contribute to a comprehensive presentation of Riemann's theory of harmony.

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.