제1강연 음악사회학의 현단계

오희숙 민족음악학회 1995 음악과 민족 Vol.10 No.-

음악시학에 대한 논의

오희숙 서울대학교 서양음악연구소 1998 음악이론연구 Vol.3 No.-

<Music Poetics> which is a study on the creation of music, is considered to have an age-old tradition but at the same time it can be regarded as an innovate field of study. In the ancient Greek era in the times of Aristoteles's "poetics", the research on the creation of art has continued its practice in a variety of forms and this was so in music too. However, from the 20th century onwards music poetics was beginning to be studied in depth as an individual field in musicology. Up to now music poetics is a field of study where it unravels the birth of those creations covered in mysterious veils scientifically. Music poetics delves into the composers view on his creation by observing his essays(memos, notes, thesis) and conversation records via examining the literary texts. It also reconstructs a more detailed process of its creation and further more tries to draw out the aesthetic thought of the composer and the creation. This thesis tried to narrow down what music poetics is by approaching from the historical and conceptual perspective and made the effort to define music poetics as a particular field in musicology. Also it was categorized into Implicative Poetics, Explanatory Poetics, and Factual Poetics with its methodology being discussed too. Then the principle elements, <inspiration> and <rationality> which play an important role in the creation of a work of art, were set up and observed as to how they were being actually applied in its creation. I have selected the composer Hans Pfitzner as the composer who regards <inspiration> as the stimulus for a creation and Igor Strawinsky as the composer who sees <rationality> being the important factor in a creation in order to closely examine the process and views in a creation. Furthermore, I have focused on the significance that which <The study on Music Poetics> has from the 20th century music perspective. The radical change shown in the 20th century music has cut loose unprecedentedly from the more traditional views on music therefore giving rise to the problem of understanding 20th century music in the traditional sense of music aesthetics. Thus, in order to support <aesthetics>, a new field was being required and here stepped in <music poetics> as s possibility to solve this problem. In other words, in the 20th century music rather than debating on the artistic value based on some sort of standard measures, the creations have to be but discussed and examined on various perspectives. Also, through the study of music poetics using an objective approach with variety of perspectives, can we then extra its views on music. That is to say that music poetics, a field which approaches the creation of music from the analytical point of view, should help to justify and consider the creation of 20th century music as an art form, thereby playing an intermediating role of better understanding the 20th century music. Only then can it operate its role to the fullest. Therefore, it can be said that this field of study calls on further for a more profound research.

중학생들이 성에 관한 지역간 실태 연구

오희숙,정정의,유형빈 全南大學校 師範大學 科學敎育硏究所 2002 科學敎育硏究誌 Vol.26 No.1

This study is about a survey on sex education, knowledge about sex, consciousness of sex, attitude towards sex and the actual state of going on dates among junior high school students, analyzing whether there is any difference among megapolis, other cities, and some counties, 1 make an attempt to get the basic materials for the right sex education and the right guide for students based on this survey and analysis. The objects of this survey are the third year students in megapolis and Jeonnam. The result from surveying and analyzing is like these. There are some differences among areas on the actual state of sex education; the students in megapolis who got sex education from teachers in charge of sex education through watching video; the students in other cities who got sex education from teacher related to sex education; those in counties got sex education from nurse teachers . There’'s no difference among areas on knowledge about sex; the students in megapolis got to know about sex from their friends, the ones in cities from teachers, and the ones in counties from teachers and TV. There are some differences among areas on consciousness of sex and attitude towards sex; the students in cities feel shy; those in megapolis and in counties feel interested. 51.7 per cent in cities and 44.7 per cent in counties often feel sex impulse 15.3 per cent in megapolis, 21.1per cent in counties and 6.1 per cent in cities do masturbation. There’'s difference in solving worries from sex; the students in megapolis talk with friends; those in cities does with parents. What they are worried are their physiologies and the degree of their physical growths. 52.5 per cent of parents in counties, 44.8 per cent in megapolis and 41.4 per cent in cities aren't interested in their kids’' worries about sex; there are some differences. 18.9 per cent of the students have boy or girl friends and 35.9 per cent want to go on dates; there’'s no difference. In the actual state of going on dates, there are some differences among areas only in the degree of going on dates and the reason they want to go on dates. Compared with other areas, more students in cities have good feeling toward opposite sex. To generalize mv result of survev. more students auestioned and the development of standardized questions and systematic research are needed.

The great Gatsby

吳嬉淑 이화여자대학교 인문과학대학 영어영문학과 1961 Minerva Vol.- No.5

18,19세기의 창작음악

오희숙 신라대학교 예술연구소 1998 예술연구 Vol.3 No.-

음악적 질서와 객관성 : 스트라빈스키의 음악미학관 연구 Strawinskys Musikasthetik

오희숙 서울대학교 서양음악연구소 2000 음악이론연구 Vol.5 No.-

A Study of the scarlet Letter

吳嬉淑 이화여자대학교 인문과학대학 영어영문학과 1961 Minerva Vol.- No.4

20세기 후반의 음악적 흐름 고찰 : 펜데레츠키(K. Penderecki)의 음악을 중심으로 Studien zur Musik von K.Penderecki

오희숙 이화여자대학교 음악연구소 1997 이화음악논집 Vol.1 No.-

Die Musik des 20.Jh. ist so vielf ltig, da die Geschichtsschreibung ber diese Musik sehr problematisch ist. In der Musik des 20. Jh. ist die Individualita¨t viel wichtiger als die Allgemeinheit. Besonders problematisch ist die Geschichtsschreibung des zweiten H lfte des 20. Jh. In dieser Zeit entstanden sehr vielf ltige musikalische Tendenzen wie serielle Musik, elektronische Musik, Klnagfabenkomposition, Minimal Musik, Neue Einfachheit nsw. In dieser Studie wurde versucht, die Tendenz dieser Weit geschichtlcih zu ordnen. Dafu¨r ist der vertretende Komposition der zweiten H lfte des 20. Jh., und zwar krzysztof Penderecki gew hlt, der durch den ha¨ufigen Wechbsel des seinen kompositorischen Stils die Tendenz dieser Zeit konkret zeigt. Der Jahrhandertmitte kommt die Bedeutung einer tiefgreifenden Wende zu, insofern <avantgaridstisches Denken> sich im internationalen Masse einer Kultur der "Neuen Musik" durchsetzte. Um 1950 entwickelt sich einerseits die Seielle Musik(K. Stockhausen, P.Boulez), andereseits die Zufallsmusik(J.Cage) in den USA. Also erfolger die Zuspitzung deskonstruktiven Werkbegriffs im Seialismus der europ ischen Moderne ewt zur gleichen Zeit wie seine Liqujdation in der amerikanischen Avantgarde. In dieser Situation tritt Penderecki als bedeutende avantgardische Komponist auf. Zum Beispiel ist sein Werk "Anaklasis" eines der ersten Werke, die als Beginn der Abl sung serieller Techniken angesehen werden m ssen; ihr prim res Gestaltungsmittel stellt die Klangfarbe dar.Daneben verwendet er vielf ltige Cluster- und Glissnadi-Technik, durch die er eine neue Klangfarbe erzeugt. Aber seit Mitte der 60er Jahre, besonders seit "Lukas-Passion"wird diese avantgardisch Tendenz allm hlich zur ckgetreten, daf r die traditionelle Tendenz - Form, Tonali t, Polyphony Technik usw- in den vordergrund getreten, Penderecki und seine zeitgen ssische Komponisten versucht nun, nicht das Neue, sodem die Kommunikation zwischen Musik und Publikum, die Innerlichkeit der Musik. Mitte der siebziger Jahre hat sich eine weitere Epochenz sur ereignet : der Abschied von "Avantgard" und "Moderne" als prima¨rer Paradigmata zeitgeno¨sischen Komponisten. In der Musik seit etwa 1970, die unter dem Begriff der <Postmoderen> verstanden werden kann, sich zwei Tendenze zu finden : enierseits in den Richtungen der Minimalmusik und Meditationdsmusik unter Anlehnung an au ereurop ischen Musik, andererseits in den

[논문]힌데미트의 초기 작곡양식 발전과정 연구

오희숙 낭만음악사 2003 낭만음악 Vol.- No.61

신음악 - 중간음악 - 아방가르드 - 포스트모더니즘 : 20 세기 음악의 패러다임 변화에 대하여 Postmoderne zum Paradigmawechsel der Musik des 20. Jahrhunderts

오희숙 한국음악학회 1996 한국음악학회논문집 음악연구 Vol.13 No.1