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

200여 개에 이르는 바흐의 교회칸타타들은 작곡기법에서나 악곡구조에서 많은 차이를 보 인다. 본 논문에서 필자는 이러한 양식상의 변화들을 바흐의 활동시기별로 나누어 살펴본 다. 5가지 질문이 집중적으로 제기되는데, 첫째 작품들이 시기별로 어떤 상태 하에서 얼마나 규칙적으로 작곡되었는가 하는 것이다. 둘째, 이들 작품들을 위해 어떤 종류의 텍스트가 주 로 사용되었는가 하는 것이다. 셋째, 어떤 음악적 유형들이 바흐 칸타타의 악장들을 지배하 는가 하는 것이다. 여기에는 작품의 뼈대를 이루는 도입악장과 종결악장이 특별히 중요하게 다루어진다. 넷째, 바흐 칸타타의 기악반주와 관련하여서는 어떠한 발전과정이 목격되는가 하는 것이다. 다섯째, 작품구조와 관련된 것으로서, 설교 전․후에 연주되는 2부 구성의 칸타 타나, 한 명의 독창자가 전체를 이끌어 가는 솔로 칸타타, 두 명의 등장인물이 대화식으로 노 래하는 대화체 칸타타, 코랄가사만을 텍스트로 사용하는 코랄칸타타, 그리고 세속칸타타의 음악에 종교적 가사를 붙인 파로디 칸타타가 주로 어느 시기에, 그리고 얼마나 빈번히 쓰여 졌는가 하는 것이다. 이러한 질문들을 통해 알 수 있는 것은 작품양식의 변천과정은 비록 그 것이 해당 시기의 작품들에 일관되게 적용되는 것은 아니지만 적어도 유형별로 그룹화 될 수 있을 정도로 상당히 뚜렷하게 작곡자가 활동한 시기별로 나누어지며 진행된다는 것이다.

There are four collections of Bach's chorale-based compositions for organ: the Little Organ Book, BWV 599-644; the Organ Chorale Preludes from the Leipzig Autograph, BWV 651-668; the Clavier Übung III, BWV 669-689; and the Six Chorales “von verschiedener Art”(the “Schübler-Chorales”), BWV 645-650. Among these four collections, in this article, “Schübler-Chorales” is excluded, because the organ pieces of this collection were arranged from the cantata-movements, which were written at the beginning of Leipzig Period (1724/1725). The other three collections, which were created for organ from the beginning, will be compared with one another by size, voice number and key of the pieces, and also, their decoration style of the chorale melody and the functional forms of accompaniment voices will be explored.