The organ, more than any other musical instrument, has assimilated numerous changes and experiments. A number of distinct national styles evolved throughout the history of organ music, spanning almost 2000 years. The classical French organ music, roughly between about 1650 and 1790, and the French organs of that period have developed a unique relationship. The musical textures were perfectly molded to the indigenous characteristics of specified combinations of stops. By 1650, French organ composers had accepted the new musical style which established registration practices for specific musical types on the organs whose specifications had become rather standardized throughout France. Organ music of this period in France became confined to forms which were used by all French organ composers of this period. Registration indications became titles for the pieces. It is fourtunate that many composers of this period wrote detailed instructions, perhaps the most thoroughgoing of any epoch, in the prefaces which they included in their collections of organ music. These instructions provide us with a valuable informations on the interpretation of their music. The organs of our country bear practically no resemblance to the French classical instruments. Therefore, the French organ music was seldom performed and studied. The purpose of this study is to understand the language of this particular style of organ and the performance practice of their music, apply this information to present day organs of our country and help the performers to express the composers' intentions fully in their performances. This study is consisted of observations on French classical organ building, organ music literature, performance practice(registration, Notes Ine´gales, articulation and ornamentation) and finally, an analysis of Francois Couperin's Messe a｀ l'usage des Convents, a typical work of the French classical organ music.

본 논문은 빈고전주의 음악의 자율성, 보편성에 살진 토양을 마련해준 합스부르크 제국 황 제와 귀족의 음악문화 및 음악후원에 대해 탐구하며, 다음의 결론에 이른다. 합스부르크 제 국의 절대적이고 강력한 유력가들은 정치적, 종교적 목적을 음악후원의 한 기틀로 삼았으나, 동시에 수 세대에 걸쳐 음악을 중요한 정신적 덕목으로 삼으며 전문가적 관심과 방식으로써 다양한 장르의 음악예술을 보호했다. 아울러 ‘옛’ 양식과 ‘현대적’ 양식, ‘옛’ 언어와 ‘현대적’ 언어, 세속적 양식과 종교적 양식이 공존하는 음악, 혼합양식의 음악을 보호, 후원함으로써 보편주의적 음악 상(像)을 구현했다. 이러한 기조 가운데 18세기 중반 황제에서 귀족으로 음 악 문화 및 후원의 주체가 옮겨지고, 이때 귀족들은 후원자를 넘어 동료로서 동시대와 미래 를 주도할 음악에 발전의 동력을 마련해주었다. 과거 유산들의 시대 초월적 의미마저 발견해 내 독창적 작곡가들에게 알린 이들의 공적은 음악예술의 자율성과 보편적 가치 실현을 위한 중요한 밑거름이 되었다. 논문투고일자