고은미의 “Double Concerto”에 사용된 12음에 의한 캐논 기법

고은미 이화여자대학교 음악연구소 2005 이화음악논집 Vol.9 No.-

This essay is abstracted from my dissertation, the Double Concerto with Analysis consists of two parts, While my doctoral dissertation has put emphasis on sectional analysis of Double Concerto, this essay was intended to develop a new theory on the canon based on twelve notes. The essay consist four part. The first part, the preliminary theory for the composition of the Canon. focuses on PTO, the basis for the canonic theory in the in preparation for the second part. The second part, analysis of the composition is divided into five sections with a formal analysis of the composition and its structure based on pitch progression with variations. The third part, explains the form and The fourth part, analysis of structural orchestration. The primary object of composing the Double Concerto is an improvement of the concept in regard to linear, horizontal, and harmonic relationships of traditional canon. Traditional Canon has had three basic drawbacks: (1) Dux and Comes is limited by concept of consonace and disonance in mode. And it is limited by complement relationship in tonal harmony; (2) Inspite of that the concept of Dux and Comes in canon is based on polyphony texture basically, the concept is composed of monophony imitation in melodic line; and (3) Rhythmic organization of Dux and Comes in traditional canon has not been dealt distinctively from pitch function. In order to remedy those defects in the traditional canon, this Double Concerto has taken the following new alternatives: (1) New complementary relationships are developed between the Dux and Comes in twelve-tone procedure; (2) Melodic line of Dux and Comes is constructed polyphonically. And Comes is constructed according variations of melodic interval of Dux ; and (3) Pitch function is applied to rhythmic organization. The theory which is used in this composition should not be limited to the present composition only, but also can be served as a generalized theory applicable to any canonic composition with twelve-tone. This Double Concerto attempts to remedy drawbacks exsisting in the traditional canon with the payment of special attention to maintaining the basic principle and theory found in the canon and develop canon for twentieth century based upon twelve-tone theory.

고은미의 "Double Concerto"에 사용된 12음에 의한 캐논 기법

고은미 이화여자대학교 음악연구소 2005 이화음악논집 Vol.0 No.9

鎌倉幕府의 対馬장악과 대高麗관계

고은미 동양사학회 2013 동양사학회 학술대회 발표논문집 Vol.2013 No.5

개념풀이 : 쇤베르크의 음악적 "아이디어"

고은미 민족음악학회 2008 음악과 민족 Vol.35 No.-

동전을 중심으로 본 전근대 동아시아의 화폐 — 송(宋)과 일본의 사례를 중심으로 —

고은미 수선사학회 2019 史林 Vol.0 No.68

For most currencies in use today, it is common for a discrepancy to exist between the face value and the intrinsic value. Since state-issued fiat money is circulated at the value of each denomination based on the credit of the issuing entity rather than the intrinsic value of its material, paper notes are accepted at face value despite their negligible intrinsic value. This concept is often also applied in analyzing coins issued by pre-modern states. In other words, it is the state that determines the value of coins. This perspective led to the assertion that the state sought to gain financial profit by producing and circulating coins whose intrinsic value is lower than the face value. However, historical records show that such attempts generally ended in vain. This became possible during the Han dynasty of China when coins were produced with equal face value and intrinsic value. As the two values of the coins became closer, the state mint had to bear the cost of casting coins. This indicates that the more the coins were minted, the greater the financial loss that the Chinese government suffered. Thus, Chinese dynasties throughout history tended to avoid minting coins if possible. In some cases, however, Chinese governments had to produce coins in large quantities despite the financial loss. This was during wartime when it was necessary to efficiently manage logistics throughout the country. When a large-scale war broke out, the tax money levied nationwide had to be rapidly allocated to peripheral territories in order to maintain a large army and fund military campaigns. Therefore, it can be said that the issuance and circulation of coins are closely related to military finance.

[학술대회 보고] 동아대학교 조선우 교수 정년퇴임 기념 음악학 학회 공동학술대회 「음악과 종교」 보고문

고은미 한국서양음악학회 2009 서양음악학 Vol.12 No.3

Influence of Sulfur Fertilization on the Antioxidant Activities of Onion Juices Prepared by Thermal Treatment

고은미,서정희 한국식품영양과학회 2016 Preventive Nutrition and Food Science Vol.21 No.2

Two onions (Sulfur-1 and Sulfur-4) cultivated with different sulfur applications were thermally processed to elucidate the effects of heat treatment on browning index and antioxidant activity. Sulfur-4 onion had higher sulfur content compared with the Sulfur-1 onion. After thermal processing, browning intensity was different between the two onions juices, with lower values observed for Sulfur-4 onion juice. This suggests that sulfur inhibits the Maillard browning reaction. The total reducing capacity of the juices increased at higher thermal processing temperatures; however, it was also lower in the Sulfur-4 onion juice. This suggests that the heat treatment of onions enhanced their antioxidant activity, but the effect was offset in the Sulfur-4 onion juice presumably due to higher sulfur content. This study indicates that sulfur, a core element for the functionality of onions, can decrease the antioxidant activity of thermally processed onions because of its potential as a Maillard reaction inhibitor.

Spi-C positively regulates RANKL-mediated osteoclast differentiation and function

고은미,Ju Hee Oh,Jin Hee Park,이수영,Na Kyung Lee 생화학분자생물학회 2020 Experimental and molecular medicine Vol.52 No.-

Spi-C is an SPI-group erythroblast transformation-specific domain transcription factor expressed during B-cell development. Here, we report that Spi-C is a novel receptor activator of nuclear factor-κB ligand (RANKL)-inducible protein that positively regulates RANKL-mediated osteoclast differentiation and function. Knockdown of Spi-C decreased the expression of RANKL-induced nuclear factor of activated T-cells, cytoplasmic 1, receptor activator of nuclear factor-κB (RANK), and tartrate-resistant acid phosphatase (TRAP), resulting in a marked decrease in the number of TRAP-positive multinucleated cells. Spi-C-transduced bone marrow-derived monocytes/macrophages (BMMs) displayed a significant increase in osteoclast formation in the presence of RANKL. In addition, Spi-C-depleted cells failed to show actin ring formation or bone resorption owing to a marked reduction in the expression of RANKLmediated dendritic cell-specific transmembrane protein and the d2 isoform of vacuolar (H+) ATPase V0 domain, which are known osteoclast fusion-related genes. Interestingly, RANKL stimulation induced the translocation of Spi-C from the cytoplasm into the nucleus during osteoclastogenesis, which was specifically blocked by inhibitors of p38 mitogen-activated protein kinase (MAPK) or PI3 kinase. Moreover, Spi-C depletion prevented RANKL-induced MAPK activation and the degradation of inhibitor of κB-α (IκBα) in BMMs. Collectively, these results suggest that Spi-C is a novel positive regulator that promotes both osteoclast differentiation and function.

과정중심평가를 위한 중학교 가정과 생애설계 교수·학습-평가 연계안 개발

고은미 한국가정과교육학회 2020 한국가정과교육학회 학술대회 Vol.2020 No.-

‘포르노-폴리틱 카메라’와 표상의 양가성: 오시마 나기사 다큐멘터리의 한국인․자이니치 표상

고은미 동아대학교 석당학술원 2017 石堂論叢 Vol.0 No.69

Oshima Nagisa's films in the 1960's are filled with anger, accusations, and multi-layered investigations of Japanese society's repressed revolutionary and twisted criminality in the post-war. The interesting point is that the representation of Korean․Zainichi is actively addressed in view of the internal issues of Japanese society. This is not only a simile but also a metonymy throughout his entire filmography. It is particularly noteworthy as one of the characteristics of Oshima’s style and as one of the important themes of his work. In this context, I examine three early documentary films of Oshima. Then I compare and analyze Oshima Nagisa's visit to South Korea and his critical writings with visual representation in his films and narrative voice. From a discursive perspective, Oshima urges the Japanese government to reflect on the historical facts of the past, urging them to respond to the political conscience and raising the possibility of “revolution”. On the other hand, on the non-discursive layer, Oshima is mistakenly interpreted as a face-to-face" with a pornographic stare, and it is divided into an ethical aspect and an aesthetic aspect. In this way, I refer to Oshima’s style, which shows the importance of supervising the two levels of supervision, as “porno-political camera”. Through this concept, I attempt to analyze the double and contradictory views of other symbols embodied in the “Sharing of Anger” and “Exhibitions of Anger”. 1960년대 오시마 나기사(大島渚)의 영화는 전후 일본 사회의 억압된 혁명성과 뒤틀린 범죄성에 대한 노여움과 고발, 그리고 중층적인 탐색으로 가득 차 있다. 그는 일본사회 내부의 그런 문제들과 서로를 조망하는 과정 속에서 자이니치(在日)와 한국인의 삶의 형질을 포착하는데, 본 논문은 우선 그의 자이니치 표상의 ‘계기’가 된 초기 다큐멘터리들을 대상으로 삼는다. 이에 더하여 오시마 나기사의 한국 방문 경험, 한국인 또는 자이니치에 대한 오시마의 비평 작업을 그의 다큐적 이미지들과 내레이션의 층위에서 비교․분석한다. 언술적 내레이션의 의미 구성 속에서 오시마는 선동적인 어조와 단호한 태도로 역사적 사실 앞에서의 일본인의 반성을 촉구하고 추궁하며, 정치적 양심에 호소하고 ‘혁명’의 가능성을 타진한다. 이미지의 층위에서는 자이니치의 얼굴을 ‘마주보고 있다’는 자기오인 속에서 피사체로서의 대상이 포르노적 재현 속에서 포착되는데, 그때 윤리적 측면과 미학적 측면의 분열 상태는 주목을 요한다. 그렇게 두 가지 차원에 걸쳐, 감독의 의지를 중의적으로 보여주는 오시마적 스타일을 ‘포르노-폴리틱 카메라(porno-politic camera)’로 개념화하였다. 그 명명으로 분노의 공유와 분노의 전시 사이에서 수행되고 있는 타자 표상의 양가적인 시선을 분석하고자 했다.