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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.
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본 연구에서는 국가위험도 및 국가신용등급 현황을 파악하고, 이들 지표와 광물자원개발 투자와의 관계를 분석하여 해외 광물자원개발투자를 위한 지표를 도출하고자 했다. 이를 위해 국가위험도와 광물자원부존국과의 관계를 분석하였고, OECD 국가신용등급을 적용한 자원개발 투자 위험도와의 상관성을 검토하였다. 실제 광물자원 투자사업 시 국가위험도 역할이 중요한 변수로 제공되는 국가는 자원지수는 양호하나 국가위험도가 글은 국가들이다. 따라서 해외광물자원 투자 시 자원지수와 국가위험도와의 관계에 대한 신중한 검토는 사업 투자 여부 선정을 위한 필수요건이다. In this study, we analyzed national mining investment security and country risk, and suggested a new index for exploration and development investment for mining projects in abroad by an analysis of relationship between these grades and mineral resource development investment. For this, potential risks for mining in mineral-rich countries are assessed, and the risk of the exploration and development investment for mining projects is relatively evaluated by OECD country risk. It is noted that countries of the lower ranks in OECD are consistently good agreement with the high grade in Behre Dolbear Group Inc. for favorable mineral exploitation, whereas the higher ranks have shown diverse and high risks for the mining investigation and development. Consequently, it is necessary that assessment of the relationship between mineral resource index and country risk for mining projects to be investigated and developed in future should be applied before business decision of mineral investigation projects in abroad.
Schönberg's 《Six Little Piano Pieces》 reveals through analysis that, based upon constituent musical intervals in the exposition at the beginning of each piece, motif processing occurs throughout the pieces in term of melody and chord, in the process that each musical interval is separated from its individual role as a motif and processes itself anew, to form a strong contrast in expression. In such radical motif processing, every shape which consists of each piece displays its own characteristic features, and at the same time interrelates with one another. In a broad sense, this interrelationship is reflected throughout the entire work. Furthermore, since Schönberg did not allow any simple, meaningless repetition in his works, his avoidance of repetition can be seen through all the musical methods, in various ways, not only in the melodic, chordal, rhythmic ways, but also in techniques, ranging from the internal structure to the external and formal. The irregularity on the surface overall, however, results from a sort of concealment technique for the internal regularity. In particular, symmetrical elements here carry weight in the whole structure of the opus as well as the structure of each piece. To sum up, 《Six Little Piano Pieces》 shows how the double-edged meaning of an 'idea', Schönberg's fundamental intention, materialized not just for a single piece but for a perfectly organic structure of the entire work.