법을 지고 넘는 고개 : 가정법률상담소와 더불어

강영애 한국사법행정학회 1966 사법행정 Vol.7 No.1

한국과 일본 전래동요의 고찰

강영애 한국음악사학회 2006 한국음악사학보 Vol.37 No.-

WHO의 MDR-TB 최신 치료지침 국내 적용의 문제점

강영애 대한결핵 및 호흡기학회 2018 대한결핵 및 호흡기학회 추계학술대회 초록집 Vol.126 No.-

지방자치단체간 문화관광축제의 연계유형 평가 - '2001 세계도자기엑스포' 개최 관계자와 방문객의 인식조사를 중심으로 -

강영애,조중현,김용근 한국조경학회 2002 韓國造景學會誌 Vol.30 No.5

The Purpose of this study is to suggest the necessity of linking and coordinating Cultural Tourism Festivals among local governments and to propose a plan for maximizing the effects of these festivals. The 'World Ceramic Exposition 2001 Korea' which took place from August 10th to October 28th was selected as a case study for the linkage plan of Cultural Tourism Festivals among local governments. Data were collected from a random sampling of visitors to 'World Ceramic Exposition 2001 Korea' from 24 to 28 October, 2001. 369 samples from a total 375 respondents were used for the final analysis. The contents of the questionnaire consisted of the cognition and satisfaction about the effects of the festival linkage among local governments and the preference of festival linkage types. The results of the analysis showed that not only festival staff but also visitors recognized the necessity of linking festivals among regions. Both visitors and festival staff had a positive attitude about the effects of the linked festival. In addition, they highly rated the 'World Ceramic Exposition 2001 Korea' as a successful festival. Visitors were satisfied with the festival. Furthermore, the number of visitors was more than staff expected. The organizing committee and staff considered the 'World Ceramic Exposition 2001 Korea' as a successful festival. The successful evaluation of the 'World Ceramic Exposition 2001 Korea' was related to the successful linkage of the festival. This study originated in the increased necessity of linking cultural Tourism Festivals among local governments. Since it is a transcendental study, it is not only significant but also limited. However, in the near future, more varied case studies about the linkages of Festivals will be conducted and these will generalize the results of this study and test the effectiveness of the linkage plans through positive analysis. For the effective linking of festivals among regions, it is necessary to study the definition of factors that affect visitors satisfaction, and determine which methods will improve visitors satisfaction.

음성장애환자 대상 음성피로와 음성평가 간 상관 및 음성피로도 설문(Voice Fatigue Index)의 임상적용

강영애,장재원,구본석 대한이비인후과학회 2017 대한이비인후과학회지 두경부외과학 Vol.60 No.5

Background and Objectives Vocal fatigue is a symptom and a term that has been frequently used in the clinical study. Although a recently developed vocal fatigue index (VFI), a self-report questionnaire that reliably identifies vocal fatigue patients, provides detailed characteristics of the symptom, there has been no study about the association between VFI and other voice assessment parameters. This study aimed to investigate whether there is a relationship between VFI and the established voice assessment in Korean patients. Subjects and Method Two hundred fifty-seven patients with voice disorders (mean age, 49.48±14.34; 145 male and 112 female) undertook the voice assessment that consisting of perceptual judgment [Grade, Roughness, Breathiness, Asthenia, Strain (GRBAS) Scale], acoustic and aerodynamic analysis, and voice handicap index (VHI) questionnaire. All patients validated using VFI. Correlation analysis between each voice assessment and VFI was conducted. Results There were statistical significances between items of voice assessment and VFI. Among the GRBAS Scale, G, B, A, S and a number of acoustic measures were associated with vocal fatigue. In particular, these features were prominent in men. As the score of VFI increased, the sound pressure level during voicing and the phonation time from aerodynamic measures were decreased while the mean pitch was increased. In addition, VFI was closely correlated with pre-existing self-report questionnaire and VHI in both gender. Conclusion These findings suggest that VFI has a significant association with pre-established voice assessment. Therefore, VFI can be used as a reliable tool for identifying and validating vocal fatigue in Korean. Korean J Otorhinolaryngol-Head Neck Surg 2017;60(5):232-42

信, 萬行之源

강영애 한국불교사연구소 2020 문학/사학/철학 Vol.61 No.-

F-95 Annual LTBI screening among high-risk HCWs at a tertiary care university hospital for 5 years

강영애,박영목,김송이,임아영,송주한,정경수,김은영,정지예,박무석,김영삼,장준 대한결핵 및 호흡기학회 2017 대한결핵 및 호흡기학회 추계학술대회 초록집 Vol.124 No.-

Objective: To investigate the annual rate of TB infection among HCWs with high risk of TB exposure, we analyzed the data of LTBI screening for 5 years Method: All HCWs working at TB-related departments were encouraged to undergo an annual TB screening with simple chest radiograph and tuberculin skin test (TST). We performed 5 times TB screening from 2009 to 2013. In 2010, chest X-ray screening was conducted without TST. We analyzed 4 times TST screening from 2009 to 2013 (T1 in 2009, T2 in 2011, T3 in 2012, T4 in 2013). Interferon-γ release assay (IGRA) was performed on TST conversion subjects. Results: A total 458 HCWs were screened at least once by C-PA and TST. The screened participants were 286 in 2009,172 in 2011,119 in 2012 and 118 in 2013. Median age was 29 years (range 22-61) and 76.6% are female. The median working duration was 46.7 months. TST positive results was 38.5% in 2009, 40.1% in 2011, 18.5% in 2012 and 22.9% in 2013. TST conversion rate between T1 and T2 was 30.3% in 2years, 7.4% between T2 and T3 and 17.4% between T3 and T4. 151 HCWs were underwent at least two times of TST. Among 151, 49 (32%) showed TST conversion. The median time to TST conversion was 25.5 months (12.4-52.2). Among conversion group, 42 (86%) were underwent whole blood interferon-gamma release assay (IGRA). Only 11 (26.2%) showed positive results in IGRA. Conclusion: In HCWs who have high risk of TB exposure, annual TST conversion rate was 7.4% to 22.9%. Only 26% of TST converter showed positive IGRA result. LTBI screening strategy in HCWs still has the limitation in S. Korea.

천주가사 <십자풀이가>에서 나타나는 <각설이타령>과의 혼종성

강영애 한국국악학회 2014 한국음악연구 Vol.55 No.-

<십자풀이가>는 음악부분에서 연구된 40곡의 천주가사 중 20%가 넘는 비중을 차지하는 중요한 곡이다. 많은 사람들에 의해 애창된 이 곡의 노랫말에는 <각설이타령(장타령)>에서 보이는 “일자나 한자 들고바”가 지속적으로 등장한다. <각설이타령>은 각설이패가 부르던 타령으로 <장타령>이라고도 한다. 본고에서는 이러한 각설이타령과 천주가사의 융합과정에서 빚어진 <십자풀이가>의 배경과 특징을 파악하는 데 주안점을 두었다. <각설이타령>은 19세기에 광대, 각설이패, 풍각쟁이, 초란이 같은 떠돌이 예인들에 의해 각 지역의 <장타령>으로 시작되었다. 그 후 일제강점기와 혼탁한 현실이었던 20세기 초에 숫자풀이 부분과 후렴이 추가되었고, ‘허절시고나 들어간다’는 도입부분도 추가되었다. 경상도에서 가장 많이 불렸으며, 메나리토리의 특징을 지닌다. <십자풀이가>는 <각설이타령>의 도입부나 종결부를 제외하고 숫자풀이 부분만을 따르고 있다. 저작시기는 노랫말과 사회적인 분위기를 토대로 1920~30년대로 추정되며, 저작자는 의식있는 사제나 신앙심이 두터운 신자로 보인다. 사설내용은 천당진복, 예수탄생, 치명복자 등 천주교 교리의 내용이 일부터 십까지의 숫자인 ‘일자나 한자 들고봐, 이자나 한자 들고봐’로 전개되었다. 채록된 노랫말은 가창자별로 약간씩 차이가 나지만, 내용이 바뀌는 정도는 아니다. 음악적으로는 구성음에서 민요 중 경토리와 메나리토리의 특징이 반영되기도 했지만, 선율진행에서는 대부분 정악의 스타일이 나타났다. Sol La do re mi의 5음음계 평조인 곡이 6곡으로 가장 많고, 계면조가 2곡, 메나리토리가 1곡이다. 천주가사 <십자풀이가>의 특징은 단순 반복, 순차진행, 여러 종지음의 출현으로, <각설이타령>의 특징과는 차별화된다. 이는 천주가사가 한국에 정착하는 과정에서 나타나는 혼종성으로 보인다. Sipjapuriga is an important tune (melody) that accounts for more than 20% of the 40 Catholic Verses which has been studied in the music sector. The lyrics, which have been sung by many people, contain the repetitive chorus, “Pick up the number one (일자나 한자 들고봐)” which is also found in Gakseoritaryeong (JangTaryeong). Gakseoritaryeong, a Taryeong sung by beggars, is also known as Jangtaryeong. This study focused on the background and characteristics of Sipjapuriga which was created in the course of the fusion between such Gakseoritaryeong and Catholic Verse. Gakseoritaryeong was started as Jangtaryeong of each region by the wandering entertainers such as clowns, beggars, Pungakjaengi, Chorani, etc., in the 19th century. Later, the number signing part and the refrain part were added in the early 20th century which was the period of Japanese forcible occupation and a period of murky reality. The introductory part, “Hey, let’s start... (허절시고나 들어간다)”, was also added. It was sung most commonly in Gyeongsang province and is characterized by the menaritori. Sipjapuriga follows only the number signing part, except for the introductory or ending part of Gakseoritaryeong. This Sipjapuriga is considered to have been created in 1920s and 1930s based on the lyrics and social atmosphere, and the author of Sipjapuriga is presumed to be a priest or devout faithful person. The lyrical contents were structured primarily around the phrase, “Pick up the number one, and number two (일자나 한자 들고봐, 이자나 한자 들고봐)”, which means the number 1 to 10 of the catholic doctrine, including the heavenly bliss, birth of Jesus, Martyr, etc. The lyrics which were recorded showed some difference, depending on the singers, but such difference was not too significant to change the context of the lyrics. Although the characteristics of gyeongtori and menaritori were reflected in terms of the component sound among the folk songs from the musical perspective, the melody exhibited primarily the Jeongak style. 6 tunes were structured with pyeongjo scale of Sol La do re mi, which accounted for the largest proportion, followed by gyemyeonjo scale with 2 tunes and menaritori with 1 tune. The Catholic Verse Sipjapuriga is characterized by the simple repetitions, consecutive progression, and several ending sound in contrast to the characteristics of Gakseoritaryeong. That is considered to represent the hybridity that emerges from the process by which that the Catholic Verse took root in Korea.

한국 가톨릭 전례음악에 있어서 토착화와 국악성가

강영애 한국국악교육연구학회 2009 국악교육연구 Vol.3 No.1

국악성가는 ‘전통가락과 천주교 사상의 융합으로 형성된 전례음악’으로 규정하였다. 이러한 국악 성가의 특징은 4가지로 압축하고, 국악의 가능성을 위한 제언은 10가지로 요약하고자한다. 첫째, 국악성가는 전통적인 평조와 계면조선법을 사용하며, 계면조선법이 특히 많다. 둘째, 당시에 유행하는 대중음악 즉, 민요, 그레고리오성가 등과 토착화를 이루었다. 셋째, 미는 음, 꺾는 음 등의 시김새를 적절히 사용하여 단선율의 맛을 드높였다. 넷째, 리듬은 ♩과 ♪ ♩을 기본으로 발전시켜 나가며, 장단은 중모리, 굿거리 등의 민속악장단은 물론, 정악 장 단도 적절히 사용하였다. 국악의 가능성을 위한 제언 ①국악은 성음악과의 문화적응을 통해 가장 한국적인 전레음악이 될 수 있다. ②가톨릭 교육기관에서는 유아교육에서부터 대학교육에 이력까지 지속적으로 국악교육을 실시하며, 각 교구 및 가톨릭대학 내에 국악 관련 학과를 신설해야한다. ③〈가톨릭성가〉 및 주일학교 관련교재에 국악성가를 수록하여 누구나 쉽게 접할 수 있도록 한다. ④국악미사곡의 부재를 느낄 때에는 공모를 통하여 많은 곡들을 수집ㆍ선별한다. ⑤국악성가는 배울 필요가 없다는 안일함, 나 혼자만 지킬 수 있다는 우월감, 사제와 수도자들의 배려에 의해서 만 취사선택할 수 있는 기호품이란 인식에서 벗어나야 한다. ⑥한국적인 가사붙임, 시김새, 음의기능 등을 고려한 음계와 경과음, 보조음의 활용을 익힌다. ⑦우리말의 강세에 맞춘 장단, 전례의 흐름에 따른 빠르기와 강약을 조절하여, 묵상부분에서는 은은하고 느리게 연주하며, 입장과 퇴장에서는 행진곡풍의 창단을 활용한다. ⑧장단표기는 메트로놈과 함께 제시하며, 선곡한 국악성가는 지휘자의 재량에 따라 약간 편곡하여 사용할 수 있 어야한다. ⑨가톨릭 전례와는 다른 대중음악을 그대로 사용할 것이 아니라, 장단과 시김새 등 전통적인 요소를 뽑아내어 토착화를 이루도록 한다. ⑩우리나라를 대표하는 명동성당어나 성지에서는 상설국악미사를 봉헌하도록 하며, 적극 홍보해야 한다. 국악성가만이 세계화ㆍ국제화 속에서 우리민족의 자긍심과 고유성을 드높일 수 있는 문화유산이란 사실을 깨닫 고, 국악에 대한 잘못된 인식은 빠르게 전환하길 기대해본다. The Korean traditional chant is defined as 'Liturgical music made from the combination of traditional melody and elements of Catholic abstraction'. Following is a summary of 4 aspects of the Korean traditional chant, as well as 10 suggestions for Korean traditional music to potentially become liturgical music. Firstly, the Korean traditional chant contains Pyeong-Jo and Gyemeon-Jo, the latter being more common than the former. Secondly, the Korean traditional chant is culturally harmonized with contemporarily popular music, such as Korean traditional music and Gregorian chants. Thirdly, Sigimsae are appropriately used to enrich it with monophonic elements. Fourthly, beginning with ♩ and ♪ ♩ , the rhythm progresses, and traditional beats including Jungmori (♩=84~92) and Gutgeori (♩.=60~70) as well as rhythms from court music are used in good balance. Suggestions are to search for the potentialities in Korean traditional music. ① Through adaptation to Musica Sacra, the Korean standard liturgical music can be optimized. ② Catholic education institutes must constantly teach Korean traditional music from kindergarten through university level, and each parish and Catholic college must establish Korean traditional music related programs. ③ Teaching materials in Catholic chant and Sunday School programs should include Korean traditional chants to appeal to a wider audience. ④ In the event of a lack of mass music, moremusic should be gathered and selected through public subscriptions. ⑤ Negligence of Korean traditional chants, a sense of superiority that only oneself can preserve the Korean traditional chant, and a misconception that it is a favorite item decided only by priests and ascetics, should all be discarded. ⑥ Utilization of scales, with Koreanized lyrics, ornaments and note functions, should be used in training. ⑦ Beats should comply with the Korean language and tempo and dynamics should be in accordance with that of liturgical music. Slow music should be played during meditation, and marching music rhythms should be used for entrances and exits. ⑧ Rhythms should be denoted using a metronome, and selected chants may be arranged by the conductor. ⑨ Instead of only using popular music that is devoid of Catholic liturgical music, traditional elements such as beats and ornaments should be extracted to allow for cultural harmony. ⑩ Active periodic dedications and advertisements of Korean traditional chants through mass at sacred places, such as the Myeongdong Catholic Cathedral, the Korean representative cathedral, should be encouraged. We expect people to realize that the Korean traditional chant is the only element of cultural heritage that can raise the pride and peculiarity of Korean people in this globalized and internationalized world. We further hope that our work will rectify misconceptions concerning Korean traditional music.

가톨릭 상장례 노래인 연도(위령기도)의 변모양상

강영애 우리신학연구소 2007 우리신학 Vol.6 No.-