Abstract
This paper aims to reconsider the meaning of subsidiary theme in Franz Schubert's instrumental music from the perspective of music theory by Adolf Bernhard Marx (1795-1866). His argument can be summarized as follows: (1) the musical work, one of the branches to cultivate the Volk, must cultivate the motive - man's primitive impulse, or the smallest musical material in which the Hegelian spirit is to emerge - creatively and without disconnection, as if to nurse the germ. (2) Therefore, the apparently isolated formal parts must be subsumed into the whole organization, through which they can be heightened as a derivation (the other) from the main theme. Contrary to such ideas, Schubert's subsidiary theme can suggest another possibility of the otherness, which brought the unconsciousness into the 19th-century musical discourse.
