예술가곡 장르에서 독보적인 평가를 얻었던 슈베르트의 창작세계에서 오페라 및 무대음악은 현재까지 크게 관심 받지 못했다. 그의 무대음악이 일반 대중이나 학자들 또는 연주자들에게까지도 주목을 받지 못했던 이유나 근거조차 아직 분명하게 설명된 경우도 그리 많지 않은 상황이다. 이에 본 글에서는 성악음악에 그렇게 커다란 업적을 남긴 슈베르트가 오페라나 무대음악에서 어떤 시도나 구체적인 창작작업이 있었는지, 그리고 그에 대한 평가나 연구가 심도 있게 이루어지지 못했는지에 대한 이유를 확인해 보려고 한다. 다양한 종류의 슈베르트 관련 문헌들을 살펴보면, 비록 작품에 대한 구체적인 정보나 분석은 없지만 그의 무대음악이나 오페라 장르 작품은 상당히 다양하고 그 숫자도 적지 않다. 본 논문에서는 우선 그의 오페라 창작과 연관된 기존의 영향이나 교육 그리고 창작 당시의 시대적 상황 등을 작품 의 실체와 창작배경을 중심으로 전반적인 흐름을 고찰했다. 그의 오페라나 무대음악 작품이 오페라 사에서 두드러지지 못한 데에는 여러 가지의 이유가 있는 것으로 밝혀졌으며, 본 글에서 언급한 바와 같이 대본의 문제점, 비엔나에서의 당시 오페라 상황 그리고 오페라 창작의 구체적인 롤모델을 찾지 못한 점 등을 대표적으로 들 수 있다. 그럼에도 불구하고 슈베르트가 남긴 많은 오페라나 무대음악 작품들은 분명 그의 창작에 중요한 한 부분으로 자리 잡고 있었던 것으로 확인된다. 이러한 연구는 19세기 초반 비엔나를 중심으로 한 유럽의 오페라사의 한 부분을 채울 수 있을 뿐 만 아니라, 모차르트 이후 독일 오페라의 발전과정을 이해하는 중요한 자료가 될 것이다.

19세기 피아노음악은 소나타와 함께 성격소곡에 속하는 다양한 작품들이 있다. 처음에 성악음악 의 일부로 나타난 인터메초는 19세기 이후 피아노를 위한 성격소곡의 일부로 분류되고 있으나, 그 구체적인 성격에 관한 연구는 그리 많지는 않았다. 하지만 베토벤 이후 멘델스존과 슈만 그리고 브 람스를 거치며 인터메초는 실제 많은 작품 속에서 음악적인 역할과 의미를 가진다. 본 논문에서는 인터메초의 발생과 변천과정을 고찰하며, 두섹이나 베토벤의 작품에서 나타나는 초기의 유형부터 멘 델스존과 슈만의 작품에서 양식으로서의 형성과정을 확인하였다. 그리고 브람스의 피아노음악 작품 에서 인터메초가 하나의 독립적인 양식으로 완성된 사실을 여러 작품예를 통해 확인하였다. 본 논 문에서의 결과는 19세기 피아노음악의 다양한 양식들을 연구하는 하나의 예가 될 수 있을 뿐만 아 니라, 실제 연주자들에게 인터메초를 정확한 해석할 수 있는 정보를 제공할 수 있을 것이다.

Arnold Scho¨nberg used three twelve-tone series in the first movement of his 「String Quartet no.3」. These twelve-tone series are used in both melodies and accompaniment. But sometimes he did not follow this fundamental rule to pursue musical thought even though he made use of the twelve-tone system in this piece. This thesis is focused on not only theme melodies, but also first ostinato motive of accompaniment and the relationship of balance between Scho¨nberg's primary and secondary musical thought can be considered in the theme melodies and the first motive of accompaniment. That is to say, Scho¨nberg shows how the main melodies and the supported ostinato motives match well together from the examples of his own musical main thought, environs thought, and relative thought. This is an specific example that Scho¨berg can develop his musical logic in his piece perfectly only when all of musical elements are in harmony. This is different with tonal music which is depends on the development of just main melody. Scho¨nberg says that the meaning of composition skill of the twelve-tone system is a reproduction of the traditional tonal harmony and is for systematization of the process of entire musical elements. So, he unites between the traditional composition techniques with and his twelve-tone system. 「String Quartet no. 3」 is also composed using both old and new. Unusually, there was no sensation in the first performance of the 「String Quartet no. 3」. But his critics said Scho¨nberg could not overcome his fantastic musical theory deeply and this piece was an expression of the Dadaism.1」 However, When it was performed at Frankfurt in 1928, Adomo was fascinated with this 「String Quartet no. 3」 and he evaluated this piece as a 'very influential music'. The article 「Why is it difficult to understand Scho¨nberg's music」 of Alban Berg says several common characteristics of atonal music. these characteristics include similar variety of harmonies, various methods of cadences, equal use for each tone in twelve-tone system, well-matched harmonies with melodies, unsymmetrical and unlimited composition in musical theme, abundant variation skills, inclusive polyphony, and various and subdivisible rhythms. Scho¨nberg's 「String Quartet no. 3」 uses abundant various rhythms, variation skills with motive, counterpoint skills, and musical theme development based on traditional harmonic function. This piece includes various characteristics of atonal music which Alban berg notes in his article. Scho¨nberg's 「String Quartet no.3」, composed with abundant musical skills, shows the serious musical thought of the composer and his musical beauties. This breaks general opinions that Scho¨nberg's piece is difficult to understand.

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.

This paper studies the process of Stravinsky's musical language prior to his most famous work The Rite of Spring was written in 1913. In this work, Stravinsky's diverse musical language and orchestration, evolved through Fire Bird and Petrushka, have matured and became his representative musical style. There are two important events in Stravinsky's life, one is an encounter with Rimsky-Korsakov, and the other is the collaboration with Diaghilev and going out into Paris, France. Rimsky-Korsakov helped Stravinsky understand orchestra and instrumentation accurately, and through this effort, Stravinsky created his unique orchestration style. Stravinsky's first work after studying with this well-informed teacher of orchestration was a symphony, and ballet music such as Fire Bird followed immediately. Quotations of folk melodies and dynamic rhythms, along with orchestration techniques for timbre became more conspicuous in his next work, Petrushka. Therefore, diverse expression styles through the use of Russian folk melodies, and characteristic rhythms all made their way to Stravinsky's inherent orchestration style crystallized in The Rite of Spring.