Among Mozart's numerous individual keyboard works, the fantasias, K.394, K. 396, K. 397, and K. 475 comprise the freer forms of composition written for the keyboard. The keyboard fantasias of Mozart preserve in written-out forms the incredible power of improvisation in which the composer displayed his innermost expressiveness and his utmost delight at the keyboard. As an eminent keyboard player and great improviser Mozart was immensely successful in his fantasias in uniting the variety of sentiments and fanciful keyboard techniques that the eighteenth-century audience so favored. Thus, this study examines the stylistic traits contained in Mozart's keyboard fantasias: the idiomatic keyboard figurations, the expressive idioms, and the overall formal structures. It is evident that Mozart's fantasias show much influence of C. P. E. Bach's free fantasias in their adoption of improvisational procedures and expressive languages of the empfindsamer Stil. Nevertheless, in the fantasias, there are many other characteristic features that are uniquely Mozart's: his language of style galant, his talent for dramatic power, and his predilection, as a Classical master, for the clarity of formal structures. Mozart's keyboard fantasias, especially K. 397 and K. 475, are unique and original creations in which the subjective force of expression is welded into the objective logic of formal beauty; in these small spheres of fantasias Mozart brings rich diversity of musical resources into a unified whole. In short, Mozart's keyboard fantasias exemplify a perfect union of expressive content and structural balance suited to the eighteenth-century ideal of Classicism.

본 논문의 목적은 존 코릴리아노의《피아노 독주를 위한 오스티나토에 의한 환상곡》에 서 나타난 구조적 설계로 작용하는 코릴리아노의 인용기법을 살펴보고자 한다. 이 작품은 베 토벤의《교향곡 제 7번》 2악장의 주요음과 특정한 음고구조을 인용하여 미니멀리즘적 기 법과의 이색적인 결합을 보여주었다. 코릴리아노는 작품의 구조를 설계하는데 있어 베토벤 의 특정 음고구조를 전반부에서는 중심음을 반복하는 미니멀리즘적 기법, 환타지아 부분에 서는 우연성의 음악적 시도와 결합시키며 베토벤으로부터 인용된 음재료들을 마지막 주제 선율이 제시될 때까지 구조적 결정요소로서 교묘하게 처리하였다. 본 논문에서는 르윈의 변형이론을 분석 방법으로 채택하여 코릴리아노의 작품에서 나타 나는 반복음의 변화를 전체적인 곡의 구조에 따라 분석한다. 또한 연주자의 상상력과 해석력 이 돋보이는 환타지아 부분의 성부진행 경로는 스트라우스의 성부진행 이론을 바탕으로 분 석함으로써 작품의 응집력을 확보한 코릴리아노의 인용기법을 살펴보았다.

A new Asiatic lily cultivar “Fantasia” was derived from a cross between “Gran-paradiso” and line “No. 96-13” made in 1997. The cultivar was selected mainly for cut flower. “Gran-paradiso” is a orange red cultivar, while “No. 96-13” is a red-purple colored hybrid line. The selection and the survey for the flower characteristics were conducted from 1998 to 2005 in vinyl tunnels and greenhouses of National Institute of Highland Agriculture. The flowering date of “Fantasia” is July 22. The flower has no fragrance and its medium sized flower is 13.4 cm in width. The orange (O28A) colored petals have no spots. The bulb weight of “Fantasia” is about 68 g and its bulb size is about 18.6 cm in circumference.