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성악 전공 학생의 가칭 시 음성의 SPR(Singing Power Ratio)에 관한 연구
조성미,정옥란,이상욱 한국음성과학회 2004 음성과학 Vol.11 No.4
This study attempted to provide a spectrum analysis for quantitative evaluation of singing voice quality of singing students rather than the presence or absence of the singer's formant. The regression analysis was used to analyse the relationship between ringing quality, SPR, and SPP of singing voice of college student subjects majoring in music. This study measured singing power ratio (SPR) in 41 singing students. Digital audio recordings were made in sung vowels for acoustic analyses. Each sample was judged by 1 experienced singing teacher and 4 voice pathologists on one semantic bipolar 7-point scales (ringing-dull). The results showed that the SPR and SPP had significant correlations with ringing Quality. The SPR had a significant relationship with ringing quality on singing voice in singing students. The SPR can be an important quantitative measurement for evaluating singing voice quality.
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성옥진 한국의류학회 2004 한국의류학회지 Vol.28 No.3,4
The purpose of this research is to define body characteristics of middle-aged men at ages between 35 and 55 whose physical changes are very prominent, by comparing the measurement data collected from this age group. This research also classifies different body types, and provides basic data for designing slacks' original forms according to each body type. Based on factor analysis of the measured data, seven key factors are grouped. And five different body types are classified based on the cluster analysis using factor marks. Type 1 refers to those who are tall and standard. This body type is characterized by trapezoid body shape when looked from the front, and slim abdomen when looked from the side. Type 2 refers to short and a little fat body shapes, with trapezoid front and protruding hip and abdomen. Type 3 refers to tall and fat body shapes, with rectangular front, protruding abdomen, and slim hip. Type 4 refers to who are of medium height and a little obese, with rectangular front and protruding abdomen and hop. Type 5 refers to short and obese body shapes, with rectangular front, slim abdomen, and protruding hip. 12 items are available to judge middle-aged men's low body types and the ratio is 90%.
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成玉姬 건국대학교 1972 學術誌 Vol.13 No.1
The solid structure is based on the foundation of a formative action like a plan structure, but this short thesis aims at studying as to how concrete and what purpose a man of willing to pursue the design should study on the solid structure. It replaces to a part of the course of training as the above. To help a bit far the person who has intention to study a design or has been in charge of education, 1 tried to bring the development ova new technique in the position of practise and practical technique not only to stay at the play of logic of nature. Thus, in this short thesis, I closely studied in brief on the practice of structure and theoretical conception of the solid structure which is a part of form structure. As a result, I obtained the following conclusion of three stages in order : Originally, the design lesson is : first; foundmental formative action that the formative lesson, structure, formation, and picture as an essential lesson in compliance with the development, and should be expaned with the feeling of aesthetic structure fur substance by conflicting each other within itself and becoming a high state. Second : to obtain the elemental technique of the first step necessary for design of product or communication. third : the general experience of creation in the course of expression of development, conception and analysis of design action that each is majoring.
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성수광,권오경,김효대 한국의류학회 1989 한국의류학회지 Vol.13 No.3
In this paper, the fabric specimen undergoes repeated laundering under given condition. After this cyclic laundering was applied, the crease recoveries of the specimen were measured using shirley crease revovery tester in order to evaluate the effect of factors at given condition during crease deformation. 5 samples of grey plain cloth were desized, alkali-scoured, bleached, whased with water, and air-dried. All tests were made on samples preconditioned to 65% RH and 20℃. The experimental results were analysed statistically to relate crease recoveries and the properties of smaples, recovery periods (time) of crease. Furthermore, the crease recoveries of core-spun yarn woven fabrics were discussed in comparison with those values for 100% combed cotton yarn woven fabric and 65% polyester 35% carded cotton blended yarn woven fabric. The results obtained are as follows; 1. Regardless of materials, remarkable decrease are observed in crease recoveries about 1-5 cycles of the repeated laundering, but slack decrease are observed in crease recoveries after 5 cycle of the re-peated laundering. 2. Crease recoveries (a) of core-spun yarn woven fabrics are relate to recovery periods (t) of crease as follows; loga=0.01415 logt+2.1168 (r^2=0.94) 3. Core-spun yarn woven fabrics were superior to 100% combed cotton yarn woven fabrics and 65% polyester 35% carded cotton blended yarn woven fabric in crease recoveries. 4. Crease recoveries (a) of core-spun yarn woven fabrics are relate to cover factor (CF), thickness (T) at pressure 0.5gf/㎠, weight (W) as follows; loga=-0.3482 logCF-0.4924 logT-0.4727 W+2.4243 (r^2=0.88) 5. Crease recoveries (a) of core-spun yarn woven fabrics are relate to 2HB/B, 2HB/W, ^3√B/W, WC/T which are concerning to formation of weared clothes and bending tran formation behavior as follows; log a=0.0091 2HB/B+0.4667 2HB/W+0.0185 ^3√B/W-+0.0114 WC/T+1.8433 (r^2=0.86)
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成玉姬 建國大學校生活文化硏究所 1977 생활문화ㆍ예술논집 Vol.1 No.-
In this study I summarized a general survey on Tapestry, which should be distinguished itself from the Embroidery, whose unique position occupied in the history of lengthy Korean Industrial Arts. Furthermore, I conducted a survey on present status of the Art of Tapestry in Modern Industrial Arts, and simultaneously clarified the direction that the Tapestry Art should take. Though there is no any definite data for the origin of Tapestry however, there is a positive proof that it had been applied actually by the ancient Middle and Near East followed by American Continent before the discovery of continent by Columbus. In discussion of Ancient Tapestry, we can not exclude the fact that the Coptic Tapestries were produced by Coptic people, who introduced Christianity into the Egypt in the most early period. Coptic Tapestry is a sort of product through Byzantine in transition period from Ancient Middle and Near East to Medieval Europe. In case of Orient, although there is a silk tapestry called "Haengju Tapestry" produced in the Dang Dynasty period of China but there exist no a sufficient piece of the works to definitely study the over-all nature of the then Tapestry. We, at this time, have to note the fact, through all the eras and continents, all the tapestries were produced consistently by the same principle as in which the tapestries had been weaved on warp with the colored woof. Medieval Art was a Fine Art of Christianity which formed and developed on the base of Christianity. While the art of Tapestry is an extravagant art and at the same time, it is art for Church, the King and Peers, and Noblemen. It is clear fact that there is no data regarding it when the Technology of Weaving (Jong Kwang) started in Europe but there were weaving machines which applied wool as warp and woof in 12th and 13th centuries. Medieval Tapestries which may be called beautified mirror of society and history of Medieval are detailed, ardent and definite records for the then clothes, labor and daily life of those days, and they reflect the spirit of the public in those day through integration of other fields of arts such as Architecture, picture, Dessin, Decoration miniature, narrative, poem and novel. A famous tapestry in Renaissance era is the work "The Acts of the Apostles" made by Raffaello, Italian Great Artist and it has been a sort of fashion and format ever since its emergence and then it resulted in new era in history of Tapestry. It is because that since then, the Tapestry has been belonged to picture for a considerable period. While, in these days, Gobelin Woven, goods were broadly known and the tapestries produced in those days had basically influenced on the tapestry until the year of 1940. An unique fact is that the tapestry had been participated as role of picture in France until the year of 1780 and that the tapestry was a Public and State art in nature. Two most important facts in history of Tapestry of Renaissance are; One is that Medieval tradition was disregarded to destruction and the other is that the tapestries were made in Art-Work Room of Monarch in various countries and also in the Art-Work Room established by the King of France and therefore, they had been patterned after the same mode as mentioned previously and they belonged to Picture. After Renaissance, the Teniers style had been developed for a considerable times and we have to note the fact that, after the latter half of the 17th century, the history of Tapestry is, so-called, the history of the Golelins and thereafter, the word "Golelins" had become the synonyum as the Tapestry for three centuries. Tapestry become a lovable and precious piece of fine art and the religious and exorbitantly exaggerated products disappeared and Tapestry become the art which may make the people happy and pleasant only. France had taken the lead in the arts of the world from 18th century through 19th century and it played an active part in tapestry art prominently. In the 19th century, the tapestry had a great renoation and the conception was found that Tapestry can not be the work for imitation of picture merely and also, in the last period of the 19th century Mechanical Civilization had been completed in dissemination and it came into wide use for practical use as a part of household furniture and daily neccesities and in this stage, the campaign for study on beauty and purpose of Tapestry from new angle of point had emerged and developed in all the countries. Lur??at, Painter in France made an authentic renovation in history of Tapestry art and Lur??at made a success largely as Painter by the year of 1939. Lur??at started to show the aspect of Dessin Painter for Tapestry in few years before the World War Ⅱ and the Basic principle of Lur??at Art existed in the Medieval Tapestry and it was established in accordance with the following three principles: The First : Coloring is restricted and controlled in use. Second : Method of perspective is rejected. Third : Decoration of the edge is excluded. The First International Biennial of Tapestry Exhibition was held in Laus??nne, sponsored by the C.I.T.A.M. which was initiated by Lur??at as its promotor on June 15, 1962 and the 8th International Biennial of Tapestry Exhibition was held from Jun. 4, through Sept. 25, 1977. We may point out the following three traits in modern tapestry art works: First : Well known painters such as Picasso and Chagall largely engaged in the works of duplication of original picture with it as picture base and then transfer it to the wool cloth. Second : Lur??at style painter advocated independence of tapestry at the inception in mind of producing tapestry through weaving it by one ply with cooperation of weaving worker, which is traditional method. Third : The creators as well as Weaving workers are still producing tapestry. But their works are nothing but a sheet of woven goods and or a piece of metal sculpture. The history of Tapestry of Korea is not clear in traditional terms, it emerged in the latter half of 1960s and their works are mostly the same patterns as the previous second of modern tapestry. In this sense, we can say that Korea tapestry art is on status, which just passed the starting point. In order to develop the Korean Tapestry Art, we have to challenge the Modern Ultraindustrialized Society and Technology, which are playing as omnipotence, so as to restore manual rights of human(and) as well as to rehabilitate the humanity.
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