본 논문은 바흐의 《평균율 클라비어곡집》이 그의 여타 작품들 및 서양음악의 창작 유산들과 구별되는 수용의 역사, 즉 작곡가 사후 오늘날까지 부단히도 해석, 재생산, 창작의 범주에서 예술음 악과 대중음악 간의 뚜렷한 경계마저 넘나들며 활기차고도 압도적인 생명력을 유지해온 역사에 주 목하면서 그 ‘특별한’ 수용사의 요인들을 역사의 흐름 안에서, 작품의 내부에서 찾으며, 다음과 같은 결론에 이른다. 다양하고 때로는 매우 이질적인 시대, 양식, 장르, 음악적 콘텍스트로의 탁월한 동 화력과 시대, 양식, 장르의 초월성으로 귀결되는 양면적 가치가 《평균율 클라비어곡집》의 ‘특별한’ 수용사를 일군 주요 요인이었다. 《평균율 클라비어곡집》에 기댄 후대의 작품들은 역사적, 예술적 가치를 부여받기도 했다. 《평균율 클라비어곡집》의 수용사는 결국 이 작품이 품고 있는 가치와 속성, 음악적 가능성과 잠재력이 역사의 흐름을 타며 한껏 발현되고 호응될 수 있는, 역사적 · 예 술적 위상의 담보가 될 수 있는 성질의 것이라는 점에 기반을 둔다.

이 연구는 대학에서 ‘음악의 이해’, 혹은 ‘서양음악의 이해’ 등의 명칭으로 개설된 교양과목으 로서의 ‘음악’에 관한 영화를 활용한 교수법을 다룬 것이다. 이 연구에서 칭하는 ‘대학교양음악’이란 인류문화와 함께 성장해 온 음악의 저변에 대한 고찰을 다루는 ‘음악 입문과목’으로서, 서양음악에 관한 역사, 감상, 이론 등이 유기적으로 어우러져 포괄적이고 통합적인 접근으로 교양교육이 이루어 져야 함을 상징한다. 이에 본 연구는 ‘교양교육으로의 음악’이라는 거시 목표 아래, 그 첫 걸음을 ‘영화’의 활용에서 찾고 있다. ‘영화 속 클래식’이라는 학습동기의 제공은 자칫 고루할 수 있는 클래식 음악에 대한 집 중도를 잃지 않게 하면서 교수자가 원하는 학습목표로의 도달을 용이하게 한다. 바로 이러한 점이 학습자들에게 클래식 음악으로 자연스럽게 입문하는 계기를 제공해 줄 수 있는 것이며, 궁극의 목표 인 음악을 폭넓게 즐기는 방법, 즉, 교양으로서의 음악교육에 도움이 될 방법을 찾아가는 길인 것이 다. 그러므로, 본 연구에서는 영화 《캐논 인버스》를 대상으로, 영화구도와 삽입된 클래식들의 음 악 교육적 관점 분석에 근거한 실제 강의 모형을 구축하였다. 이러한 ‘대학교양음악’의 구상을 통한 학습목표의 성취가 일차적으로는 합리적인 ‘대학교양음악’을 이끌 것이며, 나아가 대학의 효과적인 교양교육으로 이어질 뿐 아니라, 장기적 안목에서 국가와 사회가 지향하는 교양교육으로서의 이상을 실현하게 되는 하나의 대안이 될 것이다.

본 논문에서는 슈만의 연가곡 《시인의 사랑》Op.48에서 나타나는 조성의 순환을 전조의 관 점에서 살펴보았다. 연가곡의 조건인 단일조성이나 주제적 동기의 반복에 의한 음악적인 순환 및 일관성 있는 시적 내용이 있어야 한다는 두 가지 조건에서 볼 때, 슈만의 연가곡 《시인의 사랑》은 일관적인 시적 내용이 부족하지만 조성적 순환과 악곡간의 유기적 관계가 잘 나타나고 있다. 그리하여 본 논문에서는 첫 번째, 악곡과 악곡을 연결해주는 방법과 개별 악곡 내에서 나타나 는 다양한 전조방법을 통하여 음악적 문맥을 더욱 명확하게 하였다. 두 번째, 연가곡 전체의 조성구 조와 개별 악곡의 조성구조의 유기적 관계를 살펴보았다. 슈만의 연가곡 《시인의 사랑》의 개별 악곡은 단일 조성구조와 장단조 혼용 조성구조로 구분할 수 있었다. 악곡 간의 연결에서는 으뜸화음으로 시작하고 으뜸화음으로 끝나는 유형(T-T/T-T″)인 닫힌 형식 악곡과의 연결 및 으뜸화음으로 시작하지 않고 으뜸화음으로 끝나는 유형(X-T/X-T′), 으뜸화 음으로 시작하지 않고 으뜸화음으로 끊나지 않는 유형(X-Y)인 열린 형식 악곡과의 연결로 구분하여 전조방법을 살펴보았다. 악곡 간의 전조는 5도권조(버금 딸림조와 딸림조)와 3도권조(관계 장단조, 가온조, 버금 가온 조)인 근친조에 국한되어 온음계적 전조 및 반음계적 전조, 이명동음적 전조가 나타났다. 개별 악곡 에서는 근친조 및 원격조의 범위에서 온음계적 축화음 전조, 장단조 혼용화음 및 변화화음, 딸림화 음의 기능을 하는 2차적 화음인 부 딸림화음의 반음계적 축화음 전조와 이명동음적 축화음 전조, 동형진행적 전조 등의 전조방법이 나타났다. 또한, 연가곡 전체와 개별 악곡의 화성구조가 같고 전 조를 통한 조성방법이이 유사하다는 점을 통하여 연가곡《시인의 사랑》에서 나타나는 유기적 관계 를 찾을 수 있었다.

본 논문은 쇼팽의 마주르카 Op. 33/4에 대한 분석으로 이 곡이 내연하는 나폴리 화음의 몇몇 순간들에 초점을 맞추며 해당 맥락에서의 역할에 대해 논의한다. 반음계적인 중개화음으로 알려진 나폴리 화음은 이 작품에서 출현을 거듭하며 독특하고도 미묘한 음악적인 맥락을 형성한다. 장·단 3화음의 대조와 음역의 분리가 이끌어내는 마디17-22의 나폴리 화음은 뒤따르는 딸림화음에 대한 중개화음으로 작용하지만 쇼팽의 노스탤지어를 향한 동경으로 이해할 수 있으며, 곡의 말미에 등장 하는 나폴리 화음은 쉔커가 지적한대로 II로 전조되어 끝나는 것과 같은 느낌을 불러일으키기도 하 지만 와 사이의 상충을 통해 원조성으로 급격하게 복귀한다. 마지막 세 번째 나폴리 화음은 마디 41-47에 나타나는 것으로 이 곡의 백미라 할 수 있는 화려한 양식의 B 장조의 중간 단락을 이끌어낸다. 나폴리 화음에 부여하는 쇼팽 특유의 구조적 중요성과 맥락적 의미가 이 곡의 청취를 더욱 흥미롭게 한다.

본 논문에서는 비치의 저서에서 분석의 모델이 된 바흐의 《바이올린 파르티타, 제1번》, ‘사 라방드’ 악장과 관련하여, 다른 음악적 해석을 제시하였다. 작품의 분석에 앞서 비치의 저서 『고급 쉔커식 분석; 악구 리듬, 모티브, 형식의 관점에서』중에서 특히, 바로크 단순 2부 형식에서 나타나 는 구조와 선율의 특징에 대해 검토하였다. 이후, 비치의 저서에서 분석된 바흐의 《바이올린 파르 티타, 제1번》, ‘사라방드’의 쉔커식 분석 그래프를 바탕으로, 각각의 화음들이 가지고 있는 기능들 을 구체화하고, 보다 음악적인 화성 연결과 선율진행을 찾아내어, 그의 분석 그래프를 보완하고자 하였다. 그 결과 비치의 분석 그래프와 동일하게  를 시작음으로 하는  - - - - 의 근본선율이 완 성 되었다. 그러나 구조음  은 비치의 그래프에서 제시된 곳과는 다른 위치에서 시작되고 있으며, 구조음 중 하나인  는 그의 해석과는 다른 방법으로 연장 되었다. 또한 작품의 유기적 통일성과 응집력을 더하는 근본구조 유사성 등의 특징 등이 본 논문에서 새롭게 나타났다. 결과적으로 악곡을 형성하고 있는 근본선율은 동일하다. 그러나 근본선율의 구성음을 연장하 는 각 화음들의 기능을 다른 음악적 흐름으로 해석함으로써, 비치의 분석 그래프와 다른 해석이 도 출되었다.

"The Arts of Music" in a scientific and humanistic approach for the department of science and engineering starts with a basic premise that music courses established as liberal arts in college should focus on certain topics instead of an introduction to the study. That is, the intent of this study was to show that music as liberal arts in college could achieve more efficient and rational operation and generate greater educational effects when being integrated into certain topics based on its connections with other majors. Presenting a concept of music history, appreciation, and theory combined together, "The Arts of Music" was designed to increase the thinking abilities and emotional expressive skills of students in the Department of Science and Engineering and offer an ideal course in the line of correlations between music and science in the approach of humanities and social science. The lecture schedule of "The Arts of Music" was determined to include 32 hours over total 16 weeks according to the undergraduate school. Each of the four topics, which were mathematics, natural science, space science, and applied science, would have four weeks. The first category would cover correlations and interactions between music and mathematics within their relations including the creation of notes according to the vibration rate, Roman numeral analysis to analyze music chords in numbers, and the acoustic features of the Baroque Period represented by figured bass. The second category would cover natural science and music, presenting The Four Seasons by Vivaldi, The Pastorale Symphony by Beethoven, Raindrops by Chopin, and Winterreise by Schubert. The third one would cover space science and music. Music began to be discussed in the principles of celestial bodies in the literature of Middle Ages. There is man in the universe, and man creates music. Adopting the philosophy, the study talked about stories about space science in music history. The topic featured Pierre Lunaire by Schoenberg, Clair de Lune by Debussy, and The Planet by Holst. The final category would cover applied science meeting music, dealing with various changes caused by the impact of electricity and electronics on music. Its examples include Sinfonia by Berio, Ionisation by Varese, and modern versions of Canon by Pachelbel arranged by many pop musicians. The teaching method-based approach will help the students in the Department of Science and Engineering increase their interest and participation in lectures, efficiently cultivate artistic and humanistic culture, and develop the ability of seeing music from a humanistic perspective, thus recognizing that music language can be a means of enriching their lives.

누구나 초·중·고등학교 정규 교과 과정을 통해 음악의 구성 원리, 음악의 실제와 관련된 여러 가지 규칙과 이론을 배운다. 이러한 이유로 ‘음악의 기초이론’ 하면 어렴풋이 떠올리는 것은 정규 교과과정중배웠던음계, 화음, 조성 등일것이다. 이와같은용어들은‘기초이론’을뜻하는용어임 에 틀림없다. 하지만 ‘기초이론’의 범위는 이를 배우려는 목적과 용도에 따라 의외로 광범위하다. 관련 서적 역시 이를 반영하는 듯 지은이의 집필 목적, 교육 의도, 교육 방향 등에 따라 다루는 내용이 다르다. 음악을 배우는데 있어 기초이론의 중요성은 아무리 강조해도 지나침이 없다. 클렌다이닝은 음악 전문가나 음악관련 종사자에게 기초이론의 습득은 그가 가지고 있는 지식을 잘 활용할 수 있도록 하며 전문적 지식을 넓혀 준다고 주장한다. 대중문화에 민감한 시대에 살고 있는 우리는 늘여러가지소리에둘러싸여있다. 우리를둘러싼소리, 음향, 대중음악등을다양한자료로음악의 기초이론과연계시킨다면누구나음악의구성 원리를 좀더쉽게 배우고 즐길수있을것이다. 이에 대한일환으로 이글의본론에서는우리에게익숙한음향과음원에서기초이론이활용된예를발췌 하여분석해보았다. 전공생들을 위하여그리고음악애호가들을위하여‘음악의기초이론’은무엇을 어떻게 가르쳐야 하는가? 이 글이 그 해답을 생각해 보는 계기가 되었으면 한다.

The German popular music in the 19th century is the music, which is accepted in several citizen groups, on opposite to nobility society. With the emergence of capitalism and change of political situation produced the populace their own music of those life culture and distributed it in music market. But the evidence of independence of the popular music from art music of the aristocratic group is verificated in those antipathy and menace to the music of civil groups and those intention to classification their own music culture to the one of the populace. Eventually the meaning of german popular music in the 19th century is the new musical and cultural approach of the citizen group, who passively accepted and is known of unrefined and simple music, which is expression of emotions of uneducated people. Furthermore, it is important that the german popular music in the 19th century holds the ‘functional sociality’ changing the society than the lack of the artistry which the art music had.

This study focuses on an analysis of the Song cycle Reisebuch aus den österreichischen Alpen(op.62) by Ernst Křenek(1900-1991). When Křenek composed this Song cycle in 1929, the Orchersterlied had become a main genre in the 20th concert program and since Pierrot lunaire, Lied accompanied by a chamber ensemble elevated its position high in vocal music creation. Therefore, the conventional 19th century art song with piano accompaniment tradition had not continued into the 20th century. Křenek completed 31 art songs in his life. And this means a lot in the history of 20th century art song. Another fact that Křenek was of great importance in the history of 20th century art song is that he composed five Song cycles. Among these, four are based on his own poem, and the other one is Reisebuch aus den österreichischen Alpen. Composing Song cycle on his own poem verify the fact that Křenek was a person of a literary turn of mind and he faithfully followed the Song cycle tradition of the 19th century in purpose of unfolding a story based on one theme. Křenek’s Reisebuch aus den österreichischen Alpen consists of 20 pieces(19 songs and an Epilog added later) and is modeled on Wienterreise by F. Schubert. The Romantic inclination appeared in this Song cycle is the use of consistent rhythmic pattern in the song number eight ‘Unser Wein’, the pattern also favored by Schubert’s piano pieces. As Schubert described disenchantment of love in hisWienterreise, the fact that Křenek depicted his own hapless love for his homeland in this Song cycle is also considered to be a reflection of Romantic tendency. Křenek recapitulated the theme of the first song in the song number nineteen ‘Heimkehr’ and this is compared to the construction of Schumann’s Song cycle Frauenliebe und -leben. There are several factors in this Song cycle that continued the 19th century art song tradition, musical aspects of the cycle contain various contents of the 20th century. Twenty songs can be divided into two categories according to musical language: songs in Romantic musical languages are song number one ‘Motiv’, number seven ‘Regentatg’, number eight ‘Unser Wein’; songs in Expressionism musical languages are song number eleven ‘Alpenbewohner’, number twelve ‘Politik’. There are songs with text simply describing apparent impressions of journey such as song number two ‘Verkehr’, number three ‘Kloster in den Alpen’, and number six ‘Friedhof im Gebirgsdorf’. But those which put psychological, moral, social, and political contents into text are song number five ‘Traurige Stunde’, number nine ‘Rückblick’ and number twelve ‘Politik’. The close relationship between text and musical languages are conformed through the analyses.

While composers in the Classical period fundamentally focused on compositional techniques of repetition and alteration of motives, W. A. Mozart not only further refined these techniques to make large-scaled ‘singing’ melodies but also developed his own distinguished ones beyond the scope of traditional motivic work. Moreover, although the existing studies on Mozart’s thematic melodies have widely admitted the importance of Mozart’s distinguished melodies, they have more narrowly focused on a specific work or the first movement. Especially, no studies have investigated all the slow movements of his keyboard sonatas as a whole to systematically analyze distinguished characteristics of Mozart’s compositional techniques. Therefore, this study attempts to analyze them systematically classifying compositional techniques of Mozart’s thematic melodies into three groups of motive(s)-based, variation-based, and through-composed ones.

이논문은 음악의 요소들과 음악외적인 의미들을 이해하기위해 쟈크 데리다의 문자에관한 철학적인 이론을 적용한다. 데리다는 음성언어와 문자언어의 전통적인 이분법적인 대립에 대해 재해석을 한다. 그는 그 이분법적인 대립의 상하구조, 즉 서구의 형이상학 철학 체계 전반에 대해 반대로 생각해보고, 더 나아가서는 현실에서 잘못 인식되고 있는 점들의 변혁을 꽤한다. 이러한 인식론적 변혁을 꾀하는 것을 해체주의라 한다. 이 연구에서는 세 가지의 다른 대립에 대해 살펴본다 - 이항대립, 유표성, 그리고 음양이론. 이는 해체주의의 단계별 과정, 즉 텍스트를 이항대립으로 생각해보고, 이를 전위 시키고, 결국 사고의 변혁을 가져오게 하는 그 과정을 잘 묘사한다. 서양의 사고는 이항대립의 형태에서 심한 상하구조를 가지고있다. 즉, 어떤하나의요소는그반대의것을완전히지배하는구조이다. 이항대립에서는 근본적인 것이라고 여겨지는 요소가 주목을 받는다. 반면에, 유표성 이론에서는 어떠한 특별한 속성의 존재가 주목 받는다. 그래서 유표성 이론은 이항대립의 전위적인 특성을 보인다. 더 나아가 이항 대립의 전위는 음양이론으로 더 넓게 생각되어질 수 있다. 자연의 이치에서 음이 여성적이며, 어두운성격이라면양은남성적이며 밝음을 상징한다. 서로보충적인이러한힘은가까이서 보면 반대인 듯 하나, 크게 보면 유기체적으로 하나를 이룬다. 이는 결국 서로 다른 요소들이 조화를 이루게 됨을 나타낸다. 그러므로 음양의 동양적 사고는 이항대립적인 서양의 형이상학적 사고를 해체시킨다. 이러한 세가지 다른 대립들을 기초하여 Charles Ives’s General William Booth Enters into Heaven의 형식, 주선울, 리듬, 클라이막스 면에서 분석하고 어떤 요소들이 전위되고, 인식론적인 변혁을 가져왔는 지를 연구한다.

This study analyzed M. Kagel(1931‐2008)’s Anagrama(1957‐58) and G. Ligeti(1923‐2006)’s Aventures(1962) to present the diversity in the creation of vocal music during the latter half of the 20th Century. The point for the analysis of music was set through the analysis of vocal music by Kagel and Ligeti when the concept of ‘sound composition’, ‘language composition’, ‘vocal composition’ and others apply, and through the pieces of the composers who lived in the same era when it comes to the changes during the latter half of the 20th Century. Among Kagel’s numerous vocal music pieces, there were not many pieces that placed the ‘emphasis of the Phonetic aspect’ at the front without text. At best, they are Phonophonie, Hallelujah für Stimmen and Die Mutation. Ligeti’s compositional tendency in vocal music is slightly different from that of Kagel’s. Ligeti’s Aventures and Nouvelles Aventures, pieces based on the synthesis of the voice originated in actual diverse languages are the vocal music pieces of the 1960s that realize experimental thinking towards ‘stage piece’ from very early on. After this piece, Ligeti did not continue on this tendency. Along with Clocks and Clouds that uses the consonants and voiced vowels, 13 each, that follow the international phonetics’ phonetic notation and the mix of these instead of the text conform with Syntactics, and other pieces that used text such as Requiem, Lux aeterna, Drei Phantasien nach Friedrich Hölderlin, Nonsense Madrigals confirm this. Analysis of Kagel’s Anagrama shows that the composer did not set music to text. Instead, it was shown clearly that it was handled musically regardless of the contents of the text. Besides the conclusion that non‐semantics was realized or that another meaning was formed compared to the Latin phrase that serves as the basis of this piece, it includes the contents that could lead to yet another conclusion. Not only was basic Latin text used as Phonetic material, but it is possible to verify the conclusion that it embraces the meaning of linking to drama through analysis. Analysis of the Aventures composed of the Phonetic text that Ligeti himself explained in person according to E. Dieth and H. F. Wendt’s pronunciation presents diverse methods that can be defined as ‘vocal composition’ and verified the matters concerning ‘toning of the voice’(tone melody). Moreover, ‘musical gestures’ (crying, laughing, whispering, yelling, sigh and others) presented directly on the music note can be re‐appreciated with the opera‐like parody or caricature expression.

이 글은 슈베르트 《악흥의 순간》(Moment Musical) Op. 94/6의 통섭적 고찰을 목적으로 필자와 기존 논문-콘(1981)과비치(1998)-의 논점을 인용, 비교 분석하였다. 그 결과 분석자의 견해 와분석 방법, 적용 이론에 따라 가치를 두는 동기와 음악적 사건, 이에 따라 추론되는 결론이 다를 수 있음을 인지할 수 있었다. 해석학적 접근을 시도한 콘이 토픽으로 규정한 약속음은-진의와 상관없이-작품 속에서 간과 하기 쉬운 세부 요소를 인식하면서 작품을 다른 시각에서 듣고 이해할 수 있는 새로운 가능성을 제시한다. 콘은 약속음 이행을 좌절 시킨, F♭-E♭에 해석학적 의미를 부여했으며 비치는 이를 주요 2도 하행 동기의 변형으로 처리하였다. 반면에 필자의 경우 F♭-E♭는 A-B부분을 결속시키는 동기적 유사성의 예로 해석하였다. 이와같이 동일한 음악적 구성요소라도 분석자에 따라 부여된 의미는 다르며 광범위하게 표현되고 해석된다. 그 표현적 의미를 객관화, 구체화 시키는 것이 음악해석학이 직면한 당면과제이지만 역설적으로 이것이 분석의 다양성과 효용성을 제안하는 음악 표현의 강점이기도 하다.

It can be said that in the 18th century changes were seen in the history of music. During this period of time, there was a social enlightenment where the public musical culture began to rise within the established aristocratic society, which has been regarded as the accepted cultural means both socially and politically. Consequently, the old and new social culture met their confrontation in the area of musical genre, structure, and culture. This led to a number of different changes, where heightened interest and development in the instrumental music in addition to opera began to evolve. This study focuses on the characteristics of the town band compared to those of the court orchestra. I have also looked at the socio-musical background and the development of the system of performance as well as the musical background of the performers. The first part of this paper explains the musicians’ guild system and the musical training of Quantz. The second part of this paper explains the court music, specifically on the Dresden and Berlin court orchestra where Quantz mostly held his performance. In summary, the leading group in the area of ensemble music in the early 18th century consisted of town musicians and court performers. Until the establishment of general performance, the local or town band was part of an important musical culture for the civic society, where most of the musicians were Kunstpfeifer(‘town piper’). This evolving trend has an important implication since it was the focal point when brass musicians began to play an important role. Both the court opera and the court orchestra have contributed to the development of the court music in this time period, which later took a decisive role in the development and standardization of the modern orchestra. Therefore, the two systems, the town musical performances and the court music both can be considered as the forerunners in the modern culture of the public musical culture and the modern culture of the orchestra.

In music history, the 18th century is an epoch, in which concepts of distribution and statement of style are a delicate matter. To display this difficult situation, the first part of this study analyzes three selected music history books that are well known and commonly used in this country. The analysis shows that disagreement among the context of historical interpretations between analyzed books cannot be overlooked. On the other hand, it was also observed: it is mainly about the history of the (German) instrumental music, while the opera, in particular, the Italian opera seria, which has been also determined as one of the main genres of the century, is neglected. In the next part of the work was the cause of the differences in the historical interpretation investigated based on Carl Dahlhaus’s music-historical theory. It was noted that the basis of the 18th-century music history was laid out around the turn of the 20th-century by the so-called "German Bildungsbürgertum" derived from music historians, while the national sentiment played a significant role. With previous findings, it is tried in the last part of the work, a self-written music history of the 18th-century presented in the outline. In summary, the music history of the 18th-century should be treated more in the narrow context of political, cultural and social issues, as happened so far. This perhaps could be the diversity of historical interpretations, which is generally observed on the area of research discussed here.

Music creation is important in enhancing elementary school children's motivation and interest for music learning. The purpose of this study is to analyze trends of master's theses about elementary music creation teaching and learning written between 2000 and 2011. A total of 147 master's theses on elementary music creation teaching and learning were analyzed. The theses were analyzed in respect to following six topics; (1) the years and institutes of publication, (2) subjects, (3) topics, (4) contents, (5) research methods, (6) teaching-learning strategies. The results are as follows. Firstly, the number of theses on music creation teaching and learning has decreased recently. Gyeongin National University of Education and Daegu National University of Education were the institutes which produced the biggest numbers of the theses on elementary music creation teaching and learning. Secondly, 40.41% of the theses targeted the grade group of the fifth and sixth grades. Only 9.59% targeted the first and second grades. Since 2009 the thesis on the first and second grades was not published at all. Thirdly, 46.95% of the theses dealt with the composition and improvisation activities simultaneously. Fourthly, 62.58% of the theses excluded Korean traditional music creation in their content. 12.94% dealt with the Korean traditional music creation only. Fifthly, 40.13% of the theses were about program design and excluded implementation. 37.43% were about program design and class implementation. Finally, the most preferred strategy was the use of teaching-learning materials (26.53%). The other strategies were the application of teaching-learning theories, the use of sequences, the use of musical pieces and so on.

The Affektenlehre is an important key to understanding Baroque music. The affection that Baroque music pursued was not a subjective feeling of an individual. It was rather a universal object that can be expressed in a stylized form. The purpose of this paper is essentially and comprehensively to approach the Affektenlehre, which is the essence of Baroque music. First, various aspects of the Baroque era identifying human affection rationally and systematically are explored. Then, the article reveals that the final purpose of Baroque music (theory) was stimulation and expression of affection so that the experience of affection controlled by music can give positive impacts on the virtue of a listener. Last, the article discussed the musical practice, in which Baroque composers who are commonly compared with craftsmen realized the Affektenlehre using tools such as tonality, rhythm, key, chord, and figure in accordance with principles of order, discipline and logic.

The purpose of this paper is to explain the horizontal structure of Prelude, Op. 74, No. 4 by Skryabin objectively and logically by utilizing transformational networks to analyze the voice leading of this music. David Lewin explained transformational relations in musical space through a visual graph called a network and introduced a frame of analysis which simplified complicated aspects of music. There were other methods that analyse horizontal voice leading in atonal music by means of Lewin's transformational theory. Of these methods, Henry Klumpenhouwer's ‘transformational networks’ and Shougn J. O'Donnell's ‘dual transformation’ have been adopted as a primary analytical method for this article. The network of Prelude, Op. 74, No. 4 by Skryabin is composed of eleven types of set classes, made up of transposition transformation. The network has verified the similarity between pitch classes by utilizing isography, which shows its pitch-class contents. In this article, I hope to show that atonal music composition has a delicate structure.

This study examined the effect of active and passive listening condition on young children's musical understanding of familiar and unfamiliar melody through researcher-invented notation. All subjects in this study were Korean children from 3 to 5 years of ages in a private prekindergarten in Seoul Korea. A pre-and posttest experimental design guided this study, which was conducted for five consecutive weeks, including three treatment sessions between pre-and posttest sessions in summer of 2009. The following research questions for the study were posed: 1) Is there a significant difference in young children's apparent understanding of tempo when comparing active and passive listening condition? and 2) Is there a significant difference in young children's apparent understanding of tempo according to familiarity of the melody? Listening conditions (independent variable) in this study were the presence or absence of body movement while children listened to short musical examples. The children's apparent musical understanding of tempo (independent variable) was captured through children's guided drawings that indicated where they understood tempo changes to occur in the music. The drawings were evaluated by three independent judges who scored four drawings for each child: for familiar and unfamiliar melodies in both the pre-and posttest. A two-way ANOVA was used to analyze the scores. The results revealed that there is no statistically significant difference between treatment and control groups, between familiar and unfamiliar melody, and no difference with the interaction of group and melody familiarity. Therefore, the null hypotheses for this study were accepted.