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.

이 논문은 범교과 주제로서 독도교육의 현실적 한계와 문제를 극복해 보는 차원에서 독도교육과 음악교과와의 연계성, 좀 더 구체적으로는 초등음악교과서 내의 독도관련 노래와 국악곡을 중심으로 독도교육과의 연계가능성을 개진한 글이다. 이를 위해 초등학교 6학년 8종 음악교과서에서 독도와 관련된 직접적인 악곡이 있는지 우선 검토해보았고, 있다면 그 악곡의 구체적 내용과 독도교육에 맞는 통합교육으로의 방향을 제시하였다. 더불어 독도교육의 내용요소에 맞는 키워드를 설정하여 음악교과서 내의 국악과의 연계 및 활용가능성을 검토한 것이다. 특히 8종의 음악교과서에서 국악과 관련하여 1회 정도는 독도교육이 이루어 질 수 있는 내용을 제시해 보면서 학교현장에서 음악교과를 통한 독도 교육의 연계에 조금이나마 도움이 되는 것이 이 글의 목적이다.