The purpose of this paper is to explain the horizontal structure of Prelude, Op. 74, No. 4 by Skryabin objectively and logically by utilizing transformational networks to analyze the voice leading of this music. David Lewin explained transformational relations in musical space through a visual graph called a network and introduced a frame of analysis which simplified complicated aspects of music. There were other methods that analyse horizontal voice leading in atonal music by means of Lewin's transformational theory. Of these methods, Henry Klumpenhouwer's ‘transformational networks’ and Shougn J. O'Donnell's ‘dual transformation’ have been adopted as a primary analytical method for this article. The network of Prelude, Op. 74, No. 4 by Skryabin is composed of eleven types of set classes, made up of transposition transformation. The network has verified the similarity between pitch classes by utilizing isography, which shows its pitch-class contents. In this article, I hope to show that atonal music composition has a delicate structure.

본 논문에서는 필자의 “K-네트공간”을 소개한다. K-네트공간은 최근 북미 이론가들에 의 하여 활발하게 연구되고 있는 “K-네트”와 “성부진행 공간”을 결합·발전시켜 구축한 것이다. K-네트공간은 기존의 K-네트에 대한 이론적 가능성을 넓히는 동시에, 최근에 활발히 연구되 고 있는 성부진행 공간을 새로운 각도에서 제시한다는 데에 그 의미가 있을 것이다. 또한 이 이론을 달라피콜라의 《괴테가곡》 (Goethe-Lieder, 1953), 제1번에 적용하여 그 유용성을 보여주고자 한다.