탄화수소 흡인에 의한 화학성 폐렴 2예

노동효 ( Dong Hyo Noh ),김학렬 ( Hak Ryul Kim ),조경화 ( Kyung Hwa Cho ),김동 ( Dong Kim ),신성남 ( Seong Nam Shin ),신정현 ( Jeong Hyun Shin ),송정섭 ( Jung Sub Song ),황기은 ( Ki Eun Hwang ),김소영 ( So Young Kim ),김휘정 ( Hwi 대한결핵 및 호흡기학회 2009 Tuberculosis and Respiratory Diseases Vol.67 No.2

Chemical pneumonitis induced by hydrocarbon aspiration is rare in Korea. Kerosene is a petroleum distillate with low viscosity and high volatility. We report two adult cases of chemical pneumonitis caused by the accidental aspiration of kerosene. They were treated successfully with antibiotics and systemic corticosteroids, and recovered without complications.

1910년대 기독교계 학교의 음악교육과 그 영향

노동은(Noh Dong-Eun) 한국기독교역사연구소 2004 한국기독교와 역사 Vol.20 No.-

In August 1910 the Residency-General became the Government-General of Korea. The Government-General tried to consolidate Japanese control of Korea through a sweeping social reform program aimed at making the Koreans “loyal subjects of the Japanese Empire.” However, private schools and churches remained to be centers of musical culture. Music was recognized as a symbol of national hope and the heart of Christian culture. Pioneers of modern Western music, including Kim In-Sik(金仁湜), Kim Hyoung-Joon(金亨俊), and Lee Sang-Jun(李尙俊), were mostly from Christian private schools. Teaching at private schools in Seoul, conducting church choirs, and making and working for bands, they became founders of Korean modem Western music. Korean musicians of Christian backgrounds created a religious and musically-creative atmosphere in churches. Unlike Western missionaries, they utilized Korean traditional music, and gave music education a national character. Churches’ religious environment made Korean musicians inclined towards the Western music of the Classical and Romantic era. School music education in the 1910s was led by the Government-General and American missionaries. Hymns and private school music were suppressed by the Japanese colonial regime. A revised private school regulations in 1915 prohibited Christian schools from teaching the Bible and hymns. Ethics and Japanese Shoka(日本唱歌) became primary material for school music education in Korea. However, the Hymns of the Presbyterian and Methodist churches, anthology of songs collected by such persons as Kim In-Sik and Kim Hyoung-Joon, the Book of Songs by A.L.A. Baird and L.B. Becker, and other collections of songs were used for making patriotic-national songs. Koreans preferred European and American music over Japanese Shoka, and many Western-style songs were re-made into anti-Japanese songs. Japan tried to ban these songs, so some people were imprisoned for violating the ban. However, these songs were developed into national music and contributed to the growing nationalism that culminated in the May 1st independence Movement in 1919.

특집1 : 노동은의 북한방문기와 발표논문 : 1998년 ' 윤이상통일음악회 ' 를 다녀와서

노동은 ( Dong Eun Noh ) 민족음악학회 1999 음악과 민족 Vol.17 No.-

N/A N/A

특집 1 : 노동은의 북한방문기와 발표논문 / 1998 년 ' 윤이상통일음악회 ' 를 다녀와서

노동은(Dong Eun Noh) 민족음악학회 1999 음악과 민족 Vol.17 No.-

2002 부산아시아경기대회 기념 국제학술회의 음악 , 아시아 그리고 다문화 한국의 근대성과 음악전개

노동은(Dong Eun Noh) 민족음악학회 2002 음악과 민족 Vol.24 No.-

Until now, when close to music by modernity, there are problems from ideology, science, economy. We pursued that how music style permeated and developed to the korean music expansion based on rationalism thinking, principle, making of new citizen, establishment of free economy system. Modernization of Eastern Asia was unfolded with all life style`s overcome (industrialization of scientific technique, economic development, western institutionalization and western music) at the last of 19th century. At that times, communication of science, ethics and art groped for immanent development in the Korea traditional life system. However, as reforming order of the World Powers(occidental countries and japan), it brought against trouble and distortion. The Korea music that able to explained as synthetic, intuition, aesthetic order and psychosomatic become weakened with trouble in western music that able to explain analytic, conceptional, classificational, logical order and dividing body and mind. First of all, Japanese imperialism and the partition of the Korean peninsula leaved again incompletion problem about Korean modernity. And, incompletion problem of the Korean western musical world is also problem of Asia. The western citizen life, consumption pattern and social structure industrialized undergo the last industrial society. Excluded orientalism of Korean, Asian western musical world and system will be flexible by cultual crisis. And it will be surge cultual delay instead of the principle invade human being`s line. Musician who led to liberation of social position, managed the market economy system weaken and suppressed by orientalism of the west and japan in the Eastern Asia co-prosperity sphere. Also they rushed up modernity of complications by Christian musician with depressing all possibility as the subject of early modern times. Now, there`ll be adavance forward to modernity when Korean music recover traditional as the whole of life, plan out of colonial, creative new Korean music in the situation of nowdays. We pay attention to the modernity quicken at liberation space and after 1980`s Korean Musical world.

북한 민족관현악, 그 소통과 혁신

노동은 ( Dong Eun Noh ) 세계음악학회 2011 음악과 문화 Vol.24 No.-

The performance of Pyeongyang Ethnic Music Troupe, on December 10, 1990, in Seoul National Theatre was a great success, not only among Korean music specialists but among general public. They have also performed a day before at the Seoul Arts Center. In October, the same year, Seoul Traditional Music Troupe received a warm welcome at Pyeongyang. Also in December, for 1990 Year`s-end concert for Unification Traditional Concert, both Seoul Traditional Music Troupe and Pyeongyang Ethnic Music Troupe have together performed their music. People were especially interested since it was the first concert in 45 years since the separation, where the South and the North have performed together. This concert revealed the reality of each party and even though that reality showed two different political systems, it also confirmed that they belonged to one identity; one ethnic entity, raising more people`s expectations for cultural unification. Especially noteworthy among the repertoire for Pyeongyang musicians was the solos for the danso, oknyugeum, and gayageum, as well as the orchestrated energy of the ensemble. This was because the instruments used by the North have all been modified, which gave great inspiration to the musicians and instrument renovators in the South. This indicates that the North has succeeded in its communication and musical innovation with its audience in terms of instruments, composition, and performance venue. If music is an expressive medium, as well as a creative and communicative art, the general public should be able to participate in the process of its expression, creation, and communication. The North Korea`s sense of purpose in finding such meaning in their arts is reflected in the renovative nature of their instrument development and orchestration. Therefore, this paper will investigate the state of innovation and communication found in the North Korean Ethnic orchestra, with a study of its past history.

제국의 음악가 현제명 연구

노동은 ( Dong Eun Noh ) 한국음악학학회 2011 음악학 Vol.19 No.1

If politics is a rule and dominance which is applied to people`s life and to carry out an activity to create, maintain, modify and destruct governance, we can see these political activities in musician Je-Myoung Hyun. As a musician, he was a promising tenor, but his activities were not limited in the area of a vocalist. Rather, he carried out political activities and became the leader in the area of modern Western music. Je-Myoung Hyun was a musician who was carrying out his activities in the summit of Korean modern Western music. In his day, organizations he established or was involved in played the pivotal role of musical bands and he took the lead musical society as a musician and politician. Regardless of pure musical bands, political organizations or pro-Japanese entities, he was always at the summit of those organizations and took the lead in musical bands, thus cooperating with Japanese imperialists and taking the lead in the musical policy Japanese pursued in a national level. With the establishment of the Association of Cho-sun Musician(朝鮮音樂家協會) in 1931, he was elected as the first chief director, thus representing Korean musical bands. He was elected as an assistant administrator for the Federation of Association of Keijo(京城音樂協會) established in 1938 by the Government-General of Korea(朝鮮總督府) and Japanese musicians claiming to advocate the assimilation policy of Korea into Japan, thus representing Korean musicians. In 1942, he was the chief director for the Band of Keijo Chamber Music(京城厚生室內樂團), a restarted central performance organization as a group of comfort women for Japanese national music for the Government-General of Korea. And in 1944, he carried out activities as a director for the Association of Cho-sun Music(朝鮮音樂協會), a biggest musical band organization in Korea and organization of the Government-General of Korea, of which important positions were occupied by Japanese people. If his political activities could make him achieve his goals with his power, his devotion and endeavor deserve to be rightly evaluated. However, from just before announcing his statement of conversion of ideology in 1937, he had carried out political activities as a Japanese who was more than pro-Japanese musician in such quasi-state agencies, officially approved by the Government-General of Korea, as the Society of Cho-sun Liberal Art(朝鮮文藝會), the Society of Fellowship(大同民友會), the Federation of Cho-sun`s Total National Spirit(國民精神總動員朝鮮聯盟), the Federation of Cho-sun Idealogical Movement(時局對應全鮮思想報國聯盟), the Lodgings of Yamato(大和塾), the Cho-sun Loyal`s Corps(朝鮮臨戰報國團) and the Federation of Cho-sun`s Total Strength (國民總力朝鮮聯盟). All those organizations advocated Japanism of which principles were Japan-oriented protection of Asia from Western imperialists and the integration of all the countries in the world into Japan like a family. In this vein, as a disciple of Japanese ideology, Je-Myoung Hyun carried out his political activities focusing on the construction of the Greater East Asia Co-Prosperity Sphere which would supposedly rescue Korea and Asia and become the guiding principle of people in the world. Those activities sublimated him into the summit of musical world in the Federation of Association of Keijo, the Association of Cho-sun Music, the Band of Keijo Chamber Music, the School of Keijo Music and so on. Therefore, he was highlighted as a best and greatest Korean musician and politician in his day.

만주음악연구(滿洲音樂硏究),2 -왕도낙토를 꿈꾼 조선의 음악인들-

노동은 ( Dong Eun Noh ) 민족음악학회 2009 음악과 민족 Vol.37 No.-

노동은의 ' 알고싶다 ' 11 / ' 경성음악전문학원 ' 은 어떤 학교이었나 ?

노동은(Dong Eun Noh) 민족음악학회 2000 음악과 민족 Vol.19 No.-

생각한다 : 같음과 다름

노동은(Dong Eun Noh) 민족음악학회 2001 음악과 민족 Vol.22 No.-