한국과 중국의 양금기보법 비교연구: 개량양금 기술표현체계 개발을 전제로

윤은화 ( Yin Hua Yin ),양미지 ( Mi Ji Yang ) 세계음악학회 2015 음악과 문화 Vol.32 No.-

The Yang geum mentioned Guracheolsahyeongeum (歐邏鐵絃琴) by Yeonam Park, Ji-won in Western Yang guem. Originally,Yang geum was a sort of Dulcimer. It has been translated and spread to the world under the names such as Tympanon, Harkvert, Cembalo and Yangqin. Actually new traditional music composition skills in Korea are represented and required in several ways through the Modernized Yang Geum, but the real state of a study on sign system of the modernized Yang Geum`` new performing technique is poor. Accordingly, this study was made to develop a newly improved Yang Geum``s performing technique sign system by searching the existing Chinese Yangqin, Korean Traditional Yang Geum and Modernized Yang Geum``s performing technique sign systems. Yang Geum has been actively played, studied and improved as a folk musical instrument of the world, while the Korean Yang Geum research has continued to have little on traditional music. The Korean Traditional Yang Geum is dominated mainly by one-handed technique, whose tune is frequently changed by environment. And popular acceptance is poor due to the limit of the instrument noisy tuning. As a result, China``s Modernized Yang Geum Performing Technique Sign has been systematically studied for a long time and organized and mentioned on the first top part of any manual. This notated a special technique playing in commonly used sign when playing the Modernized Yang Geum Performing that led to the correct Modernized Yang Geum performing expression. First, the Chinese Modernized Yang Geum is composed by staff notation and number notation, and the correct technique training is good by the notation system of performing technique. Second, the Korean Traditional Yang Geum is composed by staff notation(except jungganbo), and the notation sign system ofjungganbo was used by the notation sign system of performing technique when having reverse score of staff notation. Third, Korea``s 18strings Modernized Yang Geum improved the musical instrument by magnifying the register of the Korean Traditional Yang Geum and the notation system was notated by the staff notation of the West. The notation sign systems of performing technique includes left hand slapping · Zither Stick · vibrato · rolling the stick · One-time pushing · twice pushing · pushing from the bottom sound · glissando · grace note · continuation technique · chord technique · barrier slapping technique · left-hand technique · right-hand technique · arpeggio · banchegui technique · staccato · tremolo · two voice tremolo · vibrato · mute technique. However, several performing techniques by composers are reported cause chaos, and even the same performing notation is differently indicated to have poor precision shown. Fourth, Korea``s 43strings Modernized Yang Geum is a musical instrument improved by the North Korea``s Yang Geum with all techniques of the existing instrument 18strings Modernized Yang Geum accepted that led not only to Korean music but to several musics. This allowed the suspension of the existing 18strings Improved Yang Geum to be expanded, the traditionality and merits of the existing Modernized Yang Geum to be preserved by improving the musical instruments such as pedaling, the new Modernized Yang Geum performing technique to be expanded according the demand of a new era, and several technique expressions to be progressively presented. As a result, the Korean Modernized Yang Geum``s new performing technique sign systempresented the pedal, Goejo rate, performing technique of two stick, semitone technique expression system by expanding the existing Modernized Yang Geum performing technique except the rolling the stick, arpeggio, tremolo, vibrato. Like this, 43strings Modernized Yang Geum is the musical instrument improved to play several musics not only of the existing 18strings Modernized Yang Geum performing techniques but also new traditional music, which seems to be the beginning to raise importance of the future new traditional music Yang Geum``simportance used.

창작 국악관현악의 총보 기보법 연구

양미지 ( Mi Ji Yang ) 세계음악학회 2012 음악과 문화 Vol.26 No.-

These days, contemporary Modern Korean traditional orchestra music, as the prominent genre of contemporary Modern Korean traditional music, has a variety of works being performed. The history of contemporary Modern Korean traditional orchestra music began in 1939 with composer Ki-su Kim and culminated with the renaissance of the 1980s which produced a number of works by composers such as Hui-jo Kim, Beom-hoon Park, In Pyung Chun and Dae Woong Baek. Nevertheless, insufficient research has been carried out on the traditional methods of traditional Korean orchestral music especially with a focus on its most important contemporary version. Also there exists no notable achievement in research on notation with regard to the full score of contemporary Korean traditional orchestral music. This is because the notation for the full score of contemporary Modern Korean traditional orchestra music has been regarded as a task that does not require special knowledge or skills and an insignificant step in wrapping up a work of orchestra music. As is often the case, even well-organized orchestra music by a composer runs into mistakes in performance due to errors in notation of the full score or partial score or crude notation. Hence, this study examines the existing notation of full scores of contemporary Modern Korean traditional orchestra music to identify and discuss its issues in order to make some proposals. As Western music was introduced to Korea, contemporary Modern Korean traditional orchestra music, as part of contemporary Modern Korean traditional music has developed in the order of ensemble, concerto, chorale and Asian orchestra. With the emergence of the conductor playing the part that was performed by Jib-bak-ag-sa in a traditional Korean orchestra, and in order to cover a large-scale ensemble, the music notation for Modern Korean traditional orchestra music that appeared in 1930 adopting the full score with five-line staff. The full score notation has developed through small and gradual changes. Instruments were arranged on the full score in the order of wind, percussion and string, reflecting the early method of Western orchestral music and considering the particular characteristic of Korean traditional musical instruments. Currently, full score notation mostly adopts the arrangement in the order of wind, string and percussion, but it often varies depending on composers or with individual works in response to specific compositional traits or the inclusion of some special instruments. The lack of a uniform notation style seems to be a critical issue, for it can cause confusion with the conductor or the performer. Furthermore, it may disturb the fundamental harmonic composition in organizing an orchestra. An alternative, in case a special instrument joins in, would consist in basically adopting the arrangement of instruments for notation in the order of wind, string and percussion while determining the position of the group according to classification of musical instruments. Second, in instrument range notation, if special instruments like Geomungo and Daeajaeng sound one octave lower than they are written, an "8" should be inscribed underneath the clef in order to avoid confusion. Most important, efforts should be made to achieve a precise notation of details with a view to absolutely clear communication of the composer`s intention. Composers, who understand the importance of music notation better than anyone else, must not forget that only when they can achieve a clear expression by minimizing ambiguities on full score notation so they can create the best possible performance.

2009개정 초등 도덕과 교육과정에의 긍정심리학의 “성격 강점과 덕목” 활용 가능성 탐색

양미지 ( Mi Ji Yang ),김성봉 ( Sung Bong Kim ) 한국초등도덕교육학회 2012 초등도덕교육 Vol.0 No.40

배열회수기관(HRSG)에서 탈질설비 운전 개선을 위한 가이드베인 설치에 관한 연구

양미지(Mi ji Yang),남주영(Ju Yeong Nam) 대한기계학회 2023 대한기계학회 춘추학술대회 Vol.2023 No.-