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.

본 논문은 베토벤 피아노 소나타 Op. 81a ≪고별≫(Lebewohl) 제1악장에 대한 두 가지 내러티브 를 담고 있다. 첫 번째 내러티브는 외적인 분석으로서 음악의 여러 층위에 배태(胚胎)된 토픽들을 확인하고 그 의미를 탐구한다. 이를 위해 래트너(Leonard Ratner)와 아가우(Kofi Agawu)의 양식 적·기호학적 연구를 출발점으로 삼았다. 이러한 내러티브는 다양한 음악적 측면들에 대한 철저하 고도 섬세한 고찰들이 연합된 ‘해석학적인 담론’으로 발전하게 된다. 벗을 향한 향수를 상징하는 ‘고 별’의 모토와 슬픔의 표상(表象)인 ‘샤콘느 4도선’은 이 작품이 내포하는 복잡한 음악극의 근간을 이 룬다. 이 음악극에서 고별 모토와 샤콘느 4도선은 프랑스 서곡, 노래하는 알레그로, 화려한 양식 등 과 같은 음악적 기표들과 연합되어 다층적 의미를 생산한다. 두 번째 내러티브는 중경층에 대한 내적인 분석으로서 거시적 수준의 보조음 음형을 작품의 응 집력을 확보하기 위한 수단으로 사용한 베토벤의 소나타 형식의 취급 방법에 대해 논의한다. 소나 타 형식을 새로운 차원의 삼분할로 보는 견해가 조심스럽게 개진되며, 결론에서는 이 두 내러티브 분석의 융합과 평가를 통해 진정한 의미의 ‘베토벤적인 것’에 대한 숙고가 이루어진다.