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.

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.