Kurt Weill is an eminent figure of music history in the early twentieth century who devoted to Gebrauchmusik(Music for Use) and popular music styles for general public. He was involved in musical movements of Gebraushmusik about 1920's when he became a member of the November Gruppe (November Group) in Weimar Period of Germany.Although he joined musical movements of Neue Schlichkeit(New Objectivity), he still composed on Wagnerian style of chromaticism until he had a fatalistic encounter with Feruccio Busoni. After studying with Busoni, his compositional technique is conspicuously improved and musical styles are promptly changed in both expressionism and neoclassicism. Since then, he abandoned the late romantic style of Wagnerian music and approached on modern compositional elements of the early twentieth century music, Neo-tonal and atonal music. In fact, these two musical elements are consistently applied to his music even in his Broadway musical.Along with these changes, he had big successes on stage works and had a worldwide reputation as a prominent young composer. However he did not concerned on popular music style yet before he had a collaboration with Bretolt Brecht. In the collaborating period between Weill and Brecht, Weill started on popular music style for public that he composed on renewed simple tune melodies with his own Song style and adaptation of jazz idiom. His innovative stage works were strikingly sensational in both music theater and drama. Among his theater musics, Die Dreigroschenoper is regarded as a monumental work with its popularity and artistic achievement that it is also known as a representative music for epic drama.Kurt Weill composed "Die Dreigrochenoper(Three Penny Opera, 1928)" for the first experimental music in the epic theatre of Bretolt Brecht. The parodic libretto was adapted from John Gay's Beggar's Opera that Beggar's Opera connoted a keen, bitter satire of the high society, a certain English politicians and Italian style oriented opera in England. A German translation of the Beggar's Opera was rendered by Elizabeth Hauptmann at first which was newly dramatized in Three Acts and Nine Scenes by Brecht for his epic theater. The satirical story of Beggar's Opera is enhanced and stimulated to Brecht so its factors are almost intactly quoted for his play. In his libretto, a ridicule is satirized on a hypocrisy of conventional moral behavior, an illogical system of Bourgeois world, the problems of modern civilization in Germany and its society, and the disagreement of Wagnerian opera for high status audience in the early Twentieth Century.Music intervened in every act and scene in drama except in Act III, Scene VIII. In fact, musical intervention is atypical style of the conventional drama so that audience might be surprised with unfamiliar scenary of music. They have a strangeness with cutting off the thematic development from musical intrude. Though, it is the reason why music is applied to an epic drama for Verfrermdungseffekt(an Alienation effect). In the musical numbers in drama, two music numbers are added after premiere for dramatic development and one music number, Lucy's Aria is eliminated before the premiere with vocal problems of a singing actor. Therefore, twenty-one music numbers are remained in total. This piece is also known as a foremost successful work in epic drama especially for elevating the Verfrermdungseffekt so that we can not imagine Brecht's epic theater without music since then.The epic theater is originated from a critique of an Aristotelian, a drama movement against on traditional play for which Brecht made his new epic prosody, Verfrermdungseffekt. Musical inclusion is a necessary consequence of alienation effect for its high efficiency. Verfrermdungseffekt is a newly invented device for changing the attitude of audience. By using its effects, an intentional prevention of self oblivion and emotional catharsis is facilitated in the story or drama. Every component of drama has its own individuality and each separated element produces unfamiliar materials, factors and situations for audience. It is termed as the separation of elements, a special function of Verfrermdungseffekt. With exclusion of assimilating process, the audience has different slant for watching drama so they changed their attitude from a sentimental appreciator to a rational observer. Therefore, in appreciating the drama, they could have critical detachment, reasonable reaction and objectivity.In Die Dreigroschenoper, Weill represented his comprehensive knowledge as a utilitarian and popular music style for public art. The music was composed in the second period of Weill, the period of Weill-Brecht collaboration. His artistic pursuit was always aimed for the usefulness of general public neither the governing class nor the high social status audience. Therefore, most of his works focused on more easy, understandable music to communicate with the general public. Even though they are virtually written in renewed easy tune, his artistic craftsmanship are never dismissed.Weill emphasized on Songspiel(Song Play) as a representative music style in this piece that stylistic exercise of Songspiel is already clarified from the successful performance of Mahagonny Songspiel, a collaboration work between Weill and Brecht of 1927's. Even if they had an exclusive experiment for Songspiel in Mahagonny, they had more intensive observations and researches to write the Song style(Songstil) in Die Dreigroschenoper. By applying to Songspiel in drama, the traditional approach of both numbered opera and incidental music, obtained more wider spectrum of theatrical performance due to its strong impacts and new ideas. The Songspiel replaced a traditional construction of numbered opera especially for its recitative and aria. So it presented new paradigm for vocal style in music theater. Songspiel is subdivided into two major elements, Song-style and Sprechgesang, which are mainly utilized for clarity of text in vocalization.Song style is aimed at clarity of text with simple tune in which strophic form is usually used. Song is performed by stage actor, nonprofessional singer with no vocal training so that it might freshen up the atmosphere of drama with its sensational approach of singing. In the case of strophic form in Song style, the arrangement of instrument is mostly switched on diverse styles during the same melodies are repeated in voice. Thus, vocal part is formalized in Strophic form but the accompanying part of instruments is in variation form.Sprechgesang is combined with two vocal styles, Parlando and Sprechstimme(speaking voice). Parlando is a type of singing which vocal style is quite similar to recitative in many ways. Yet, parlando is designated for singing on accurate pitch in more declamatory, patter style than typical recitative. Sprechstimme is a modern vocal technique between speaking and singing that is generally dealt in a dramatic expressiveness with a more speech like, dramatic narration. Without a certain limitation of Sprechstimme in this music, it displayed on various styles of speaking voice for its dynamic images. So, Sprechstimme is occasionally notated in special shapes of note.The usage of jazz idiom manifested in this piece. Weill adapted numerous music materials of jazz: jazz band, jazz rhythm, swing, improvisational comping, antiphonal style, ad lib.itum and so on. The sonority of music is very unique and extremely colorful with implying jazz band. It is remarked by multiple player method in band, many of instruments are played by one performer with alternation. Thus, the number of performer is about seven or eight players in the music but they played more than twenty instruments by using on multi player method. In the instrumentation, many of different instrument groups are proportionated jazz band for which the instruments of traditional symphony orchestra are comprised with following instruments: flute, clarinet, bass clarinet, two trumpets in C and Bb, two trombones, timpani, bass drum, piano and celesta. Jazz instruments and ethnic instruments are consisted of following instruments: jazz drum, log drum, piccolo snare drum, banjo, bandoneón, harmonium, mandolin, hawaiian guitar, and four different type of saxophones, soprano, alto, tenor and bass. In particular, banjo is intensively used in piece which is the first accompany instrument for blues singer. Whether Weill intended on its history or not, banjo gave a special mean in his music with playing on jazz idiom.A new approach of mysterious timber is produced by combining with contemporary style of classical music and jazz idiom. The marvelous blending of jazz instruments delivered an exotic feeling of classical music and lighter mood. In addition, those jazz instruments played on contemporary music style of neoclassicism and expressionism which derived aerial sound of surrealism through ensemble. Its tone color and sound mixture became an individuality of Weill. The Surrealistic approach of exceptional sound came out from an idea of unexpected juxtaposition and non sequitur.Weill also manipulated on several kinds of jazz rhythms: blues, boston, foxtrot, shimmy, tango, and variéte. He did not use jazz scale for this music but jazz rhythms brought into a peculiar interest and vitality in each pieces with its own characteristic. Even though it was composed for epic drama, the music can be performed or recorded independently without drama because it has its own excellence and beauty with well organized construction. It never bored to listen the music only, even if the duration of music is more than one hour.In manipulation of jazz idioms, instruments are usually played off beat for swing which are against the steady walking bass. Moreover, most of melodies in voice are started at off beat phrase so it reinforced swing on music. Sometimes, Piano accompaniment is very similar to jazz comping style that it provoked an improvisation of jazz piano. In the other hand, the confliction of dissonance and consonance harmonies are consistently displayed as harmonic background in piano accompaniment that confliction of composite harmonies are modified twentieth century atonal style of harmonic progression and traditional style of chromatic harmony in tonal music.In fact, Weill focused on popular music style in this work for general public. However his stylistic approach can be classified as neoclassicism, expressionism and surrealism too. He combined both modern compositional techniques of early twentieth century and popular music together so its subtle blend produced an exceptional quality of sound and established an originality of Weill. Amongst modern stylistic approaches, neoclassicism prominently dominated compositional technique and maintained through the entire piece.Neoclassical approach is marked with following elements: the lighter texture, motivic clarity, emphasis on melodic line, formal balance and so on. Moreover, fugato is used in the middle part, the second part of overture with Neo-Baroque style that is typical to neoclassicist. In harmony, the conjunction of tertian harmony and nontertian harmony is evidently applied. These harmonic approaches are remarked with using added notes. The application of these particular added notes is for dualism on two different modes or the growth of polarity in polytonality.