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역방향 레딕스 방식에 의한 고소 하드웨어 정렬기의 설계 및 구현
박희순(Park Hee Soon),전종연(Chun Jong Yun),김희숙(Kim Hee Sook) 한국정보처리학회 1996 정보처리학회논문지 Vol.3 No.4
Raix sort scans the data twice in a pass, to search bit 0s of the items being sorted and store them into the lowest address, and to search bit 1s and store them into the following addresses. This doubles the sorting time. In this paper, we introduce Reverse Radix Sort Algorithm, in which the data being sorted are scanned just once and write upward from the lowest address if it is 0 and downward from the highest address if it is 1. The algorithm is simple and the hardware sorter implemented by this method shows very high sorting speed. Hardware implementation requrires two separate pocket memories, register, an upward increasing address counter, a down ward decreasing address counter, and computer. The software simulation of Reverse Radix Sort Algorithm performs sorting in the speed of 54.9ms per 10 thousand of 8 bit digit data, but the hardware sorter spends 5.3 ms to sort the same number of data.
향토민요와 판소리의 음악적 교섭양상 -농부가조 모심는 < 상사소리 >와 춘향가 < 농부가 >를 중심으로-
박희순 ( Hee-soon Park ) 남도민속학회 2007 남도민속연구 Vol.15 No.-
In order to find a musical interrelation between folk songs and pansori, which are of different genres, I have examined the < sangsasori >, which is songs during weeding rice paddies, and the < nongbuga > of the chunhyangga. The contents are as follows. The < sangsasori >, which is songs during weeding rice paddies, exists in chung-nam and jeon-nam, jeon-buk and gyeong-nam and can be distinguished into the following: areas where only the < sangsasori > is sung, areas where only the < jajinsangsasori > is sung, and areas where both the < sangsasori > and the < jajinsangsasori > are sung. The musical composition of chung-nam is primarily nenari-tori, whereas the < jajinsangsasori > collected in certain areas of jeon-nam have only gyeong-tori, but in general the yukjabaegi-tori appears. In addition, there exists the < sanyuhwaga >, which is similar in musical composition with the < sangsasori > which is songs during weeding rice paddies, and also the < maehwataryeong >, which seems to have changed in musical composition from the gyeong-tori to the yukjabaegi-tori. Among the above < sangsasori > types, a musical piece composed in the pansori < nongbuga > style exists in jeon-buk and jeon-nam, and according to differences in rhythm and musical composition can be divided into two types. According to an analysis of four different recordings of the < nongbuga > of the chunhyangga by four different singers, it can be divided into two types according to musical composition. An analysis of the two musical compositions of different genres shows that the rhythm, melody and musical composition of the two pieces are similar. Also, themusical pieces, according to features of musical composition, can be divided into two types. The first type is characterized by slow jungmori rhythm and irregular musical composition which are characteristic of pansori, and the second type is quicker than the first type and the musical composition is characterized by repetition of texture, which is characteristic of folk songs. In this manner, the musical composition of jeon-nam which is of the first type shows characteristics of pansori, whereas the chung-nam and jeon-buk areas, whose musical composition is of the second type, shows characteristics of folk songs. Also the date of Oh cheong-suk’s recording, which belongs to the second type, is the latest recording at present. Therefore, the folk song < sangsasori > and the pansori < nongbuga >, which show similarity in musical composition, can be categorized according to the genre. But determining which type came first and which type was second cannot be determined on the basis of musical analysis alone. The historical background and social changes of the areas where the songs were collected must be made clear with the help of interdisciplinary scholarship.