韓日 音樂敎育의 變遷의 比較硏究 : 初·中·高敎를 中心으로

박정양 安東大學 1983 安東大學 論文集 Vol.5 No.1

Korea and Japan have formed their common or its own music culture influencing each ether through their long conta ct which once was maintained in an unfortunate relationship fo enmity but that now has in more agreeable state of friendly neighbors since Korea Liberation in 1945. Both nations have common backgrounds of music development: while the two nations received Western music influence and implanted it in their school education, they have been relatively careless for their traditional music. That`s why the two nations are trying newly to preserve and develop their own music. The purpose of this study is to compare the development of music education in the two nations int he whole context of world. I hope this study will suggest a desirable direction for future music education in Korea.

음성학상으로본 아동발성의 원리와 지도기술

박정양 安東敎育大學 1971 論文集 Vol.4 No.1

As it is considered that the vocal organ and phonetic condition for children differ from those for the adult, it seems that there is no way to guide the children's voice Generally, it seems that the Korean children are apt to sing loudly through the strong breath voices. Every young child should never be allowed to sing loudly until their voices have been drilled, considerably or the fine quality of their tones will be soon disappeared. Year by year, hudreds of the portentially nice voices are sacrified by the juggernaut of the hearty and natural singing. Especially, in the case of boys, as all their voices have been shouted loudly without exception and the lower register is used hard, the voices, which could be quided well by their soft singing from childhood, have been crubed to that extend as there is no room to recover it. Understanding the theory of guiding for children's voices and trying to make better voice, the instructors of music should inquire into the principle of the phonetic, physiological and vocal condition and have confidence of teaching music.

音樂演奏에 있어서의 Tempo와 Agogik에 關한 硏究

박정양 安東敎育大學 1973 論文集 Vol.6 No.1

It is true that a subject of tempo and agogik in music attaches primary importance to a musical performance. As to the formless things which can not be expressed on a musical note, their composers had aready been dead and they were composed by a subjective view. Therefore, a player, who delivers a composer's intencion, is unable to give a right expression without understanding the historical and basic background in music and is will be difficult to set up a proper tempo. Though there is a metronome, a real and artistic performance can not be displayed without having a skill gn tempo modifier as well as tempo rubat which is well-balanced methodically in music, and this study is intended to solve this problem for the purpose.

음악형식학의 일고

박정양 安東敎育大學 1971 論文集 Vol.4 No.1

Without understanding the form and meaning of Sonata or Symphony, music can not be understood. Music is an expression of human feeling which is accumulated continously and the feeling is multifarious random and free. It will also be changed every moment! Therefore it is natural that there should be a theory that only a form of music can be followed. With a sound arrange disordered, it can not be understood by the hearer and music should be the one which was sympathized with others and structured to make others understood it. To contact with the substance of music, the form of music should be understood and it might well say that the form of music is the right meaning of it. It is necessary that a common musician and the experts of music should understand it. Therefore the writer intended to find the essential of music by analyzing the form of music.

대학생의 음악선호와 웰빙 간의 관계

박정양,서경현 한국건강심리학회 2008 한국심리학회지 건강 Vol.13 No.2

This study aims to investigate the relationship between music preferences and subjective well-being, such as satisfaction with life, expectancy of satisfactory life, negative emotions, positive emotions, and subjective happiness. The participants were 344 college students (161 males and 183 females), whose ages ranged from 17 to 37 (M=21.35, SD=2.43). The instruments utilized in the present study were Music Preference Questionnaire, Satisfaction with Life Scale, Scale for expectancy of satisfactory life, Emotion Frequency Test, and Subjective Happiness Scale. Music Preference Questionnaire showed relatively satisfactory level of reliability and validity. Result indicated that students with higher music preferences showed more strong expectancy of satisfactory life than those with lower music preferences. Correlational analysis revealed that preferences of musical activity and classic music were positively associated with satisfaction with life, whereas pursuit of psychological effects in music was positively associated with negative emotions as well as subjective happiness. A regression analysis revealed that pursuit of psychological effects in music accounted for around 8.5% variance of expectancy of satisfactory life. The present findings suggest that music may have the well-being effect as well as the healing effect. 본 연구는 음악선호가 삶의 만족, 삶의 기대, 부정 정서 및 긍정 정서, 주관적 행복 등 주관적 웰빙과 어떤 관계가 있는지를 탐색하는 것을 목적으로 하고 있다. 연구의 참여자는 344명의 남녀 대학생(남: 161, 여: 183)이었고, 그들의 연령 분포는 17세에서 37세(M=21.35, SD=2.43) 사이였다. 본 연구에서 사용된 심리검사는 음악선호검사, Diener 등의 삶의 만족 척도와 그것을 변형한 삶의 기대 척도, 정서빈도검사, Lyubomirsky와 Lepper의 주관적 행복 척도이다. 연구자들에 의해 개발된 음악선호검사는 비교적 안정된 요인구조를 나타냈다. 분석 결과, 음악을 선호하는 대학생이 그렇지 않은 대학생보다 삶에 더 큰 기대를 가지고 있었다. 음악 활동과 고전음악 선호는 삶의 만족과 정적 상관이 있었다. 음악의 심리적 효용성 추구는 주관적 행복은 물론 그것과 부적 상관이 있는 부정 정서와도 정적 상관을 보였다. 한편, 음악의 심리적 효용성 추구로는 삶의 기대의 변량을 약 8.5%정도까지 설명할 수 있었다. 본 연구의 결과는 음악의 치유 효과 외에도 웰빙 효과도 있을 수 있다는 것을 시사한다.

「비인 無調樂派」의 精神構造

박정양 安東大學 1985 安東大學 論文集 Vol.7 No.1

The art of sound in Europe has been polyphonic with harmonic sound system. Bach`s Fuge, which was originated form modus form of the Fifteenth century, is considered as the beginning of chromatik in the last phase of the development of harmony. Modern music begins with R. Wagner and the tonality system has changed by A. Schonberg. In this study 1) the three masters` works of wiener Atonale Musik are researched and analyzed from the point of view that the determined the stream of modern music with acutest expression and very important declaration, 2) one aspect of the spirit of occidental music is examined by reviewing the change from the beginning of the art in the end of the century until after the war, 3) and finally a method of dealing music scientifically is suggested.

Bach의 Invention을 중심으로한 Piano지도법의 일고

박정양 安東敎育大學 1972 論文集 Vol.5 No.1

Bach's Etliden which had once been neglected in playing piano has become an indispensable one for the piano teachers and learners today. Bach's invention of counterpoint of polypliony against homophony is confronted by a characteristic of expression for the way of the petal usage, fingerline and ornament in piano teaching. Therefore, this writer intends to study, reexamine and comfirm this problem, to teach the playing piano better and support the theory and ability to play Bach's works in addition to his invention.

遊戱와 藝術의 演奏論的 考察 : 演奏의 美學

박정양 安東大學 1986 安東大學 論文集 Vol.8 No.1

Play and art have much similarities both in their forms and the experiences they give us, and many aesthetic studies have been done on their relation. It is true that there are much in common between art and play because many elements of play are mixing in artistic behavior. The purpose of this study is to define the similarities and the differences between them and to illuminate the aesthetic problems of musical performance as an artistic behavior.

Schumann의 "Kinder Szenen"을 中心으로 한 그의 피아노 獨奏曲의 分析 硏究

박정양 安東大學 1979 安東大學 論文集 Vol.1 No.1

Schumann who succeeded to Weber and Schubert was a great master of music among the German romantic schools. He lived a life full of vicissitudes and ended his unhappy life because of his mental disorder. He composed many gems of works such as lied, symphony, chamber music: and chorus, which exceed those of Schubert in quality. Schumann who wanted to be a pianist composed many piano songs, feeling an irresistible longing for Clara. They look easy at first glance. However, they are full of charm and they consist of musical contents of everyday life which arc in the form of free style flowing out of keen musicality. Op 68. 118-a. 85, etc. are suitable for developing musicality of young music students. Among them, Kinder Szenen of op 15 expresses children`s playing, story, winning lies, happiness, sadness, pleasure, and thought, whose elegance and exquisite description nobody can imitate. Schumann`s fantasy is fully realized in it and it is purely sensuous. The present writer has analysed and investigated Kinder Szenen to contribute learning and performance of this song.

音樂的 時間論 : G.Brelet硏究

박정양 安東大學 1987 安東大學 論文集 Vol.9 No.1

G. Brelet has established the aesthetic time theory in this century with her epochal thesis "Le Temps Musique". She is the one who represents modern aesthetic time theory. G. Brelet`s theory of the musical time is summerized as follows: In music there is an independent musical time apart from the physical time which is created by music itself in which we feel the vitality of life. The vitality of life makes us experience the musical time which is actual, latent and exists as a form of pure durance (Duree Pure). The musical time is the metaphysical essence of time. It is perceived as the present-living time which is einmalig and exists as an act. Because the musical time has an act, music is considered as an art of time. Brelet has tried to define the qualities of the independent time of music based on Husserl`s philosopihcal time of theory and Bergson`s inner-durance time theory. The purpose of this study is to draw the conclusion of Brelet`s aesthetic time theory by researching her writings including her major thesis "Le Temps Musique" with the philosopher`s theories of time and existence as the foundation of her theory.