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.

The concept of "prolongation" which is an idea of extraordinary power is well established by many Schenkerian analyzers. It offered outstanding and unique view into common-practice tonal music, allowing us to understand through the musical surface to the remoter structural levels and ultimately to the tonic triad. Many researchers have indicated that it is not proper for atonal music to adapt the concept of prolongation. Most theorists have ceased to produce prolongation analyses of atonal music. The first part of this study examined the limits of the Schenkerian analysis concerning the fundamental structure(Ursatz). Through this examination, it has been found that the fundamental structure and prolongation are not the absolute notion, and harmonic progression and prolongation are largely determined by the consonance and dissonance that occurred contrapunctally between parts. From the standpoint such as this, Strauss and Pearsall admitted that in atonal music, some sonority might be defined contextually as a consonance, thus permitting small-scale prolongations. In the context of the intervallic contents of chords in an atonal works, we may find some prevalent chords. Some researchers suggested that the potential exists for uncovering a unique context containing intervallic variety in each atonal composition. To examine the intervallic content in some atonal works, we used the approach of "set" theory. Unlike tonal works, each atonal composition contains unique structural attributes. And, the identification of consonance and dissonance in atonal music necessarily leads to new definitions of harmony and voice-leading. This study analyzed Webern's op.9, no. 2, based on the demonstration of Edward R. Pearsall. This analysis illustrated the existence of common harmonic attributes and structure. Pearsall suggested that some prevalent intervallic contents and common harmonic attributes be able to consider a kind of 'consonance'. And, he thought of this consonance as a unit of prolongation in an atonal work. The demonstration of Pearsall gives an example of the understanding the term "prolongation" in atonal works. His methodology of analysis is not absolute nor generalized. But, we may have a possibility to examine the "prolongation" in atonal works. In conclusion, we may apply the methods of this analysis to other atonal works.

본 논문에서 필자는 쇤베르크(Schoenberg, 1874-1951)의 《6개의 피아노 소곡》 Op. 19 No. 6을 보다 수평적인 관점의 ‘선율선’(musical line)에 초점을 맞춰 작품에 내재된 구조적 집합들 사이의 ‘성부진행’을 분석한다. 분석을 위해 택한 방법론은 스트라우스(Joseph Straus)의 오프셋(offset) 개념을 통한 성부진행 이론과 필자의 동일 구성음 배열 체계에 따른 최대 근접 성부진행 시스템이다. 이를 통해 필자는 작품의 수직적, 수평적 차원뿐만 아니라 미시적, 거시적 관점에 이르기까지 작품의 다양한 계층에서 매우 유기적으로 연관된 ‘수평적 성부진행’의 구조를 살펴볼 수 있었다. 또한 필자가 제안한 시스템이 무조음악 작품의 구조 적 응집성을 밝히는데 매우 유용하게 사용될 수 있음을 확인할 수 있었다. 같은 작품에 대한 다른 해석을 보여주는 필자의 시도는 새로운 분석 방법론을 통한 접근이 무조음악 안에 숨겨 진 또 다른 다양한 의미 해석의 가능성을 넓힐 수 있음을 보여준다.