태평소 산조의 선율 다양화 방법론 연구

정경조(Jung Kyung jo) 국립국악원 2010 국악원논문집 Vol.21 No.-

본고에서는 태평소 산조의 선율 다양화 방법을 찾기 위하여 필자가 하나의 태평소 산조를 구성해 가면서 그 방법들을 모색해 보았다. 먼저 태평소의 음역 내에서 연주 가능한 여러 선법들을 검토하였다. 다음으로 다른 악기의 산조 선율들을 모방하여 검토된 선법의 틀에 끼워 맞추는 작업을 하였다. 그리고 각각의 선율들이 잘 연결될 수 있도록 산조에서 널리 사용되는 선율변화의 방식을 사용하였고 필요시 연결가락도 만들었다. 또한 산조의 선법 흐름이 서양음악에서 정의된 관계조 와 -공통음을 많이 포함한다는 면에서- 밀접한 관계가 있을 것으로 생각하여 피리산조에 나타나는 선법의 연결과 관계조와의 관련성을 살펴본 결과 선법이 변할 때 대부분 관계조로 연결된다는 것을 알 수 있었다. 그리고 이것은 태평소산조를 구성할 때 아주 유용하게 이용할 수 있는 원리가 될 것으로 생각된다. 본고에서 태평소산조의 선율 다양화 방법에 대한 결론은 다음 세 가지로 요약할 수 있다. 첫째, 태평소로 연주 가능한 선법들은 <표 1>과 같다. 둘째, 자신만의 선율을 만들어 낼 수도 있고 또한 다른 악기의 산조 선율을 모방할 수도 있다. 그 선율들을 첫째항에서 정리된 연주가능한 선법의 틀에 맞게 적절히 변형한다면 보다 쉽게 산조 가락을 만들어 낼 수 있을 것이다. 셋째, 선율을 변화 시킬 때는 관계조로의 변화를 활용할 수 있다. 첫째 항에서 정리 된 태평소로 연주 가능한 선법들 간의 관계조 관계를 도식화 하면 <그림 1>과 같다. 위의 세 가지 방법을 다시 한 번 요약하면, 자신이 만든 새로운 선율 또는 다른 산조의 선율을 모방한 것을 태평소로 연주가 가능한 선법의 틀에 끼워 맞춘 다음 관계조로 진행될 수 있도록 배열을 하거나 연결 선율을 만들면 된다는 것이다. The purpose of this research is to find various methods in order to create variety melodies in Taepyeongso Sanjo. So, I tried to create a Taepyeongso Sanjo to seek the methods. The first step was examining various modes that can be performed. Then, put the melodies which is imitated from other Sanjo in examined modes. Next, by using both popular melody variations in Sanjo and creation of new linking-melodies, each melodies can be liked well and create strong connections. Throughout the research, it showd that when the modes changed, it usually connected to relative keys. And this could be useful as an important theory to create a Taepyeongso Sanjo. The following are the conclusions of this research. First, the modes that can performed in Taepyeongso Sanjo are showe in <table 1>. Second, it is possible to create new Sanjo by using either ways; The composer s own creation or copying the melody from other Sanjo. It would be the easier way that imitates other melodies and change it by suitable modes. Third, utilizing of the change to the relative keys are also useful. Various relative keys are shown in this Sanjo and it is shown as <picture 1>.

「현악영산회상」과 「평조회상」의 선후(先後)관계에 대한 연구

정경조 ( Kyung Jo Jung ) 민족음악학회 2013 음악과 민족 Vol.45 No.-

This research began by questions about existent discussion about music that occur first between Hyeonagyeongsanhoesang and Pyeongjohoesang. There are two opinion which is music that Hyeonagyeongsanhoesang occurs first and which is music that Pyeongjohoesang occurs first. But two opinions was no certain evidence. I analyzed melody structure that show in Hyangak because was thought to have detected music that occur first by analyzing Yeongsanhoesang`s melody structure. So, analyzed current Sujecheon`s melody structure with Hyangaks collected to Siyonghyangakbo. Hyangak could know that melody structure of most ``Perfect fourth + Major wholetone`` shows as the result. Hyeonagyeongsanhoesang and Pyeongjohoesang are relation of Perfect fourth transposition. Structure of ``Perfect fourth + Major wholetone`` may show in music that occur first in Piri`s case that range is narrow. But, the structure may be collapsed because of range`s limit in music that make by Perfect fourth transposition. Therefore, I analyzed melody structure of Piri and Geomungo to look for first step that can find out music made first between two Yeongsanhoesangs. And I analyzed Piri`s melody structure of Gwanagyeongsanhoesang that is another Yeongsanhoesang. As the result, I found truth that structure of ``Perfect fourth + Major wholetone`` that appear much in Hyangak collapses in Piri`s melody of Pyeongjohoesang. I think that this consequences is important proof that Hyeonagyeongsanhoesang was made firster than Pyeongjohoesang. Because structure of ``Perfect fourth + Major wholetone`` showed in all two musics in Geomungo`s case and show in Hyeonagyeongsanhoesang and Gwanagyeongsanhoesang in Piri`s case. By result of this research, propriety of opinion that Pyeongjohoesang was made firster than Hyeonagyeongsanhoesang became low. And I am thought that method of this research helps when find thing made first between musics in relation of transposition.

평조와 계면조의 음정 연구 -박종선류 아쟁산조를 중심으로-

정경조 ( Kyung Jo Jung ) 민족음악학회 2015 음악과 민족 Vol.49 No.-

Current Sanjo is learned using most staff notation. But, Sanjo’s interval can not appear correctly to staff notation because is different from temperament. So, purpose of this research is measuring difference of Sanjo’s interval and temperament. I studied about Parkjongseon’s Ajaengsanjo that many performers play in concert. Used Praat that is sound analysis software to measure Sanjo’s pitch. Used Microsoft Excel to calculate pitch data efficiently. And compared with temperament of staff notation after change pitch data to Pyeongjo and Gyemyeonjo’s interval. Pyeongjo’s scale has been known as “sol-la-do-re-(mi or fa)”. According to analysis result, “sol”, “la”, “fa” is similar with pitch of scale known when based “do” that is keynote. But, “re, mi” may have to appear as “re b, mi b” because was measured low more than 100cent. Last sound of Pyeongjo scale is very unstable sound if see “mi or fa” as one. But, if see it as two, Pyeongjo is scale that have 6 note. Is going to need much research and discussion to solve these question. Gyemyeonjo’s scale has been known as “mi-sol-la-si-do-re”. But, if follow in measurement result, “sol” that is second sound appeared higher than “sol #”.

현행 수제천의 중심음(宮)에 대한 연구

정경조(Jung Kyung jo) 국립국악원 2011 국악원논문집 Vol.23 No.-

이 글은 횡지정읍으로 불리는 현행 수제천을 정읍과 비교하였을 때, 현재 많이 변모되었음에도 불구하고 남려궁을 뜻하는 횡지라는 것과 정악에서 음계의 기음을 당연히 중심음으로 여기는 관행으로 인해, 현행 수제천의 중심음이 南인 것으로 여겨지는것에 대한 문제제기로 시작되었다. 지금까지는 수제천의 중심음을 1, 2장은 南, 3장은 太, 4장은 南, 太, 林으로 보는 것을 정설로 여겨왔다. 그러나 현행의 수제천에 대하여 중심음이 가져야 할 몇 가지 조건을 기준으로 분석해 본 결과는 다르게 나타났다. 본 연구에서는 현행 수제천의 중심음을 파악하기 위하여 먼저 중심음이란 한 악곡에서 다른 음들에 비하여 가장 안정된 종지감을 주며 가장 길게 연주되는 음 으로 정의하고 중심음이 가져야 할 조건을 네 가지로 정리했다. 그것은 첫째, 가장 긴 연주시간을 가지는 음. 둘째, 선율골격이 완전4도+장2도(또는 단3도) 로 나타날 때 그 골격의 가운데 음. 셋째, 5음 음계의 중성(中聲)인 음. 넷째, 종지음과 같거나 아니면 종지음의 완전4도 위음이다. 이러한 조건을 만족하는 음을 찾기 위하여 수제천의 연주시간과 종지음에 대한 분석을 하였다. 그 결과 1, 2장의 중심음은 太이며, 3장의 중심음은 林이며 4장의 중심음은 太인 것으로 드러났다. 수제천의 음계는 4장을 제외하면 선행연구들의 분석과 대체로 동일하게 나타났으나 중심음만 다르게 분석되었다. 즉, 수제천 1, 2장의 음계는 南(중심음)-黃-太-姑-林 인 것으로 인식되어 왔으나 南-黃-太(중심음)-姑-林 으로 보아야 하며 3장의 음계는 太(중심음)-姑(仲)-林-南-潢 으로 인식되어온 것을 太-姑-林(중심음)-南-潢 으로 보아야 한다는 것이다. 본 연구의 결과를 간단히 말한다면 현행 수제천은 南이 중심음인 음악이 아니라 太가 중심음인 음악이다. 로 요약할 수 있겠다. Can know that changed much if compare current Sujecheon been called Hoengji Jeongeup with Jeongeup. But, it is thought that there is problem that think keytone of Sujecheon as 㑲 because of Hoengji that mean Namryeogung and custom that think first tone as keytone justly. It is reason that it writes this writing. Purpose of this research is grasping keytone of current Sujecheon. above all, defined as Keytone is tone that act leading role than other tones in a musical piece. And arranged four conditions that can get into keytone. First, It is the tone played longest. Second, When melody frame appears by 4 degrees of perfect interval +2 degrees of major interval(or 3 degrees of minor interval) middle tone of the frame. Third, It is tone in a pentatonic scale center. Fourth, It is the terminational tone or 4 degrees of perfect interval upper tone of the terminational tone. To find tone that satisfy these condition analysis about Performance time and terminational tone of Sujecheon. By the result Keytone of 1, 2 movement is 太(), and keytone of 3 movement is 林(), and keytone of 4 movements is 太(). Had considered as established theory that see keytone of Sujecheon as in 1, 2 movement 㑲(), in 3 movement 太(), in 4 movement 㑲(), 太(), 㑣() so far. But, result that analyze Current Sujecheon via Some condition about keynote took effect differently. If except 4 movements, scale conforms with Contents of researches of front and was construed differently keytone. That is, Sujecheon 1, 2 movement s scale had been appraised by being 㑲(keytone)-黃-太-姑-林 but must see as 㑲-黃-太(keytone)-姑-林 . And 3 movements scale is that must see as 太-姑-林(keytone)-南-潢 although recognized as 太(keytone)-姑(仲)-林-南-潢 . If speak briefly, current Sujecheon is music that is not Namryeogung but is Taejugung.

C계 유도경화 베어링강의 회전접촉 피로거동에 미치는 Mn첨가의 영향

정경조,윤기봉,최병영 ( Kyung Jo Jung,Kee Bong Yoon,Byung Young Choi ) 한국열처리공학회 1995 熱處理工學會誌 Vol.8 No.3

Effect of Mn addition on rolling contact fatigue of C-base induction hardened bearing steels has been investigated to develop inexpensive surface-hardened bearing steels with improved resistance to rolling contact fatigue. Fatigue tests were conducted in elasto-hydrodynamic lubricating conditions at a shaft speed of 5,000rpm, under max. Hertzian stress of 492㎏/㎟. It was found in the C-Mn steels that effective depth of induction hardened layer and amount of retained austenite were slightly increased in comparison with those of C-base steels. finer interlamellar spacing of pearlite in the C-Mn steels was also observed using TEM. Decomposition of retained austenite during rolling contact fatigue was smaller in quantity in the C-Mn steels than C-base steels. This might be associated with enhanced mechanical stability of retained austenite with addition of Mn. Statistical analysis of fatigue life for C-Mn steels using Weibull distribution indicated that improved resistance to rolling contact fatigue was mainly attributed to transformation induced plasticity and mechanical stability of retained austenite.

명태 건조과정에서 일어나는 수분과 수분활성도 변화가 명태건조품의 물성에 미치는 영향

하주엽(Ju Yeoup Ha),이상현(Sang Hyun Lee),정경진(Kyung Jin Jung),조영득(Young Duk Jo),김재철(Jae Cherl Kim) 한국식품영양과학회 2010 한국식품영양과학회지 Vol.39 No.12

명태의 건조경향은 초기의 평형상태가 뚜렷하지 않은 과정을 제외하면, 일반적인 식품건조형태를 따르는 것으로 보인다. 따라서 시간이 지날수록 건조속도는 어육과 외기의 수분농도차이가 줄어듦에 따른 결과뿐만 아니라, 표면 건조에 의한 고화현상에 의해 수분이동이 억제됨에 따라 느려지게 된다. 명태의 부위별 건조속도는 잘 알려진 바와 같이 머리 부분이 몸통부분보다 빨랐다. 건조가 진행될수록 어육표면과 중심부의 수분함량과 그에 따른 수분활성도의 차이는 증가함으로써 어육내부의 수분이동이 잘 일어나지 않아 전체적인 건조속도의 저하를 나타내었다. 주어진 외기의 건조조건(온도, 습도, 풍속)에서 초기의 높은 건조속도에 의한 어육 표면응고로 인해 건조개시 수 시간 이내에 어피(피부)와 어피 바로밑부분의 어육과 어체 내부 어육의 수분함량 차이가 급격히 일어나는 것을 알 수 있었다. 황태 제조과정의 전단계인 건조과정에서 건조가 시작된 뒤 주기적으로 수분활성도의 차이가 급격히 일어나는 시간(지점)은 황태 특유의 조직감을 형성하기 위해 건조과정에서 조직의 고화를 방지함으로써 일정한 건조속도를 유지하기 위해 주기적으로 수분을 공급해 주어야 하는 시점임을 제시해 준다. Drying curves for raw Alaska pollack seemed to follow typical food dehydration process with a very short initial settling down period. It was evident that there are some differences in drying rates between each part of fish body showing the highest drying rate for fish head followed by that for fish skin and that for flesh, presumably because of differences in water holding capacity of the components of each part. Specifically, the drying curve of fish flesh revealed that a boundary layer, thereby, a time period, existed which showed a big difference in moisture content and/or water activity as drying proceeds. The boundary layer in fish flesh with high moisture content between the layer contributes to reduce drying rate mainly as a consequence of protein aggregation resulting in hardening of fish flesh. The first boundary layer in this work appeared to show within several hours after initiation of drying. For Hwangtae, a naturally cyclic freeze-thaw dried and aged Alaska pollack which was popular in Korea, manufacturing process, it is clear that periodic moistening of boundary layer in fish flesh prohibits hardening fish flesh in boundary layer and enables steady moisture diffusion from inside of the fish flesh to surface of the fish body.

3차 병원의 병동에서 시행된 심폐소생술의 분석

류진호,정경운,위준선,문정미,전병조,문원식,김용권,소정일,허탁,민용일 대한응급의학회 2001 대한응급의학회지 Vol.12 No.4

Background: Although cardiopulmonary resuscitation(CPR) is a very effective therapy in cardiac arrest, it is hard to prove the true effectiveness of CPR. Several studies about out-of-hospital and emergency department CPR exist, but only a few reports about in-hospital CPR are available. This study was designed to investigate in-hospital cardiac arrest, to analyze the result of CPR, and to evaluate the problems associated with in-hospital CPR. Methods: A clinical analysis of 71 cases of in-hospital CPR announcement from January 2000 to August 2000 was performed. The initial rhythm on cardiac arrest, return of spontaneous circulation(ROSC), and the survivals were analyzed in the case of the 46 true cardiac arrest patients. Results: During 8 months, there were 71 cases of in-hospital CPR announcement. Among them, there were 46 cases of true cardiac arrest and 25 cases of non-cardiac arrest. Of the 46 true cardiac-arrest cases, 27(58.7%) experienced ROSC, 15(32.6) survived for over 24 hours, and 7(15.2%) survived to be discharged. The initial rhythms on cardiac arrest were 30 cases(65.2%) of asystole, 14(30.4%) of PEA(pulseless electrical activity), and 2(4.3%) of ventricular fibrillation, with ROSC being 17 cases(56.7%), 9(64.3%) and 1(50.0%) cases and discharged survivors being 4 cases(13.3%), 3(21.4%) and 0(0.0%) cases, respectively. Conclusion: Extraordinarily high proportions of asystole and PEA were seen in the initial rhythm of cardiac arrest, and those were associated with high survival rates. Although further study is needed to evaluate the course leading to this high proportion of asystole and PEA, this result suggests that if the EMS system in the hospital is activated promptly and systematically, a better outcome will be achieved in case of cardiac arrest with asystole and PEA.