Reprocessable and Reprogrammable Azobenzene-Functionalized Liquid Crystal Elastomers with Dynamic Thiourea Bonds

배재희,이진형,김동균,안석균 한국공업화학회 2022 한국공업화학회 연구논문 초록집 Vol.2022 No.-

슈만의 피아노연곡에서 보여지는 다양한 악곡 유형

배재희 연세대학교 음악연구소 2010 음악이론포럼 Vol.17 No.-

Schumann`s piano cycles arguably constitute his most original contributions to piano literature; he is usually regarded as the inventor of the piano cycle. For many years, scholars did not recognize the special features of Schumann`s piano cycles and, as a result, subsumed them into several other genres. Piano cycles differ in significant ways from suites, variation sets, program music, or multi-movement pieces, even though the criteria for distinguishing them remain unclear. Although recent studies broaden our understanding of Schumann`s cycles, these studies have not sufficiently filled the obvious gap in our knowledge. One of the difficulties of studying Schumann`s piano cycles is articulating what features make cycles different from pieces with similar arrangements. This paper proceeds in three parts. In the first part, I explore how musicians have perceived and described Schumann`s cycles, and how Schumann`s cycles differ markedly from pieces with similar arrangements. After surveying relevant theoretical studies, I develop a classification scheme that sorts the cycles in several different categories, in order to avoid the confusion inherent in comparing pieces from distinct categories. In the last part of this study, I try to demonstrate the relationship between three types of Schumann`s piano cycles and Romantic literature. In the process, I include detailed analyses of some individual movements from Schumann`s piano cycles.

G. 리게티의 [호른 트리오] 3악장의 분석 연구

배재희 新음악학회 2004 新음악논집 Vol.4 No.-

G. Ligeti's Horn Trio was written for Hermann Baumann, Saschko Gawriloff (violin), and Eckart Besch (piano), in 1982. It is perhaps his first substantial work which extensively uses traditional musical features such as ternary form, triads, and expressive melody. Many consider the Horn Trio to be the most complex music Ligeti had written up until 1982. It is a juxtaposition of old and new, static and complex, repetition and perpetual variation. Ligeti employs two different rhythmic patterns and the combination of two distinct yet nearly identical, because of slight different rhythmic patterns-effects a phase shifting. For melodic pattern, he uses 12 chromatic notes. The 12 notes acts as the specific melodic pattern same as the rhythmic pattern T, and it circulates 28 times throughout whole A section. In this study I investigate the specific compositional techniques which Ligeti employs isorhythmic techniques in both melody and rhythm in the 3rd movement of his Horn Trio and show how these techniques can be modeled abstractly. I also demonstrate that advanced isorhythmic technique plays a pivotal role in how Ligeti structures form. Since my investigation is limited to isorhythmic technique that Ligeti used, I only cover section A and A' of the 3rd movement.

질문 강화 수업이 중학생들의 질문 수준과 학업 성취도에 미치는 영향

배재희 이화여자대학교 교육대학원 2002 이화교육논총 Vol.12 No.-

Student questioning is included in the priority of science literacy, to enable students to solve problems by exploring questions, communicating and constructing knowledge(AAAS, 1989). Also, the essence of student questioning in science lies in its function as a link between thinking and leaning. But there are few of studies about students' questioning in Korea. The purpose of this study was to investigate the effects of questioning level enhancing instruction on students' science question level and achievement comparing with the traditional instruction. Also, this study showed the effects of other variables(logical thinking, science achievement, interest and gender) on students' science question level. The study involved 154 students in second grade of middle school. Two groups were instructed with different kinds of instructions. One group was instructed with the traditional teaching method, and the other was instructed on researchale questioning and enhanced. The result of pre- and post-achievement have analyzed by ANCOVA. And the questioning data were for question level and other variations(instruction, logical thinking, science achievement, interest and gender) using five-way ANOVA. The result of this study are as follows: 1. Instruction on researchable question was more effective on high-order questioning than the traditional instruction(p<.01). 2. Results of correlations indicated that instruction(r= .311) and logical thinking(r= .212) was significantly and positively related with students' question level. But there was not a significantly correlation in interest and gender with students' questioning level. 3. Instruction on researchable question was more effective on science achievement than the traditional instruction(p< .01).

토마토 관비재배 기술

배재희 慶北大學校 農業開發大學院 1999 最高農業經營者課程 論文集 Vol.5 No.-

쇼팽의 전주곡 의 , Op. 28 형식 구조에 관한 연구

배재희 이화여자대학교 음악연구소 2010 이화음악논집 Vol.14 No.2

This paper studies principles of formal organization in Chopin’s Preludes, Op. 28. My study proceeds in two parts. The first part considers Chopin’s Preludes in general; the second part is an analytical study of aspects of several of the work. In the first part, I explore how musicians have perceived and described Chopin’s Preludes, and how the work differs from piano cycles. The first part also provides scholarly studies from different trend of studies. In the second part, I consider the features of formal organization within Preludes. I devote this part to three important formal aspects of Chopin’s Preludes: overall structure including key scheme; features of the individual pieces; connections between adjacent pieces.

전조 이론에 관한 연구 : 19세기 이론가를 중심으로

배재희 新음악학회 2003 新음악논집 Vol.3 No.-

전조(modulation)라는 용어가 조성 변화(changes of key)의 의미를 포함하기 시작한 시기는 대략 18세기에 이르러서였다. 17세기나 그 이전 시대에는 전조가 조성의 변화라는 의미보다 오히려 음악 형태(musical shape), 음형(figure), 처리법(conduct), 또는 음악 문맥적(context) 의미를 나타냈었다. 다른 여러 의미들과 함께 조성의 변화라는 의미가 표함되기 시작하였던 18세기에 이르면 몇몇 독일 이론가들에 의해 "Modulation"과 "Ausweichung"의 차이에 관한 논의가 시작된다. 여기서 말하는 Modulation이란 화성 진행(harmonic progression)의 전반적인 양상을 일컫는 용어였으며 이것은 현재의 전조라는 용어에 관한 해석과 개략적으로나마 유사하다고 할 수 있다. 반면 Ausweichung은 일반적으로 조성 변화의 과정 또는 온음계적 음계에서 반음계적 요소들의 소개를 위한 필수적 진행을 의미하는 것으로서 현재의 타니시제이션(tonicization)과 근접한 의미를 나타내는 용어였다. 그러나 이러한 차이점에 관한 구분이 일관되게 사용된 것은 아니었다. 18세기 말에 이르면 전조라는 용어에 관하여 이전 시대에 쓰여졌던 다른 의미들은 사라지게 되지만, 일시적이며 지엽적인 화성 진행과 어느 한 조에서 다른 조로 조성이 바뀌는 진정한, 의미의 전조 사이에 차이에 관한 인식은 여전히 확립되지 않았다. 일반적으로 말해서, 전조가 단지 타니시제이션의 의미로 사용되던 것이 19세기 전반동안의 표준이었던 것으로 보인다. 실제로 이 시기의 논서들을 살펴보면 large-scale 화성 진행의 문제들이 전조란 제목 아래에서 논의되지 않았던 대신 형식 구조(formal structure)의 아티큘레이션(articulation)에 관한 논의에서 언급되었다. 19세기 후반부에 이르면 전조와 타니시제이션간의 명확한 구분이 인식되기 시작하는데 1872년에 쓰여진 Chaikovsky의 논서는 이들 두 개념간의 함축된 차이점이 논의된 최초의 논서로 알려져 있다. 그러나 이 시기의 전조 이론을 논하는데 있어서의 또 다른 문제점은 전조라는 용어를 사용하는데 있어 19세기를 통틀어 지속되었던 전조적 관계와 전조적 기술의 차이에 관한 인식의 부족이었다. 위에서 간략하게 살펴본 바와 같이, 전조라는 용어는 여러 가지의 다양한 의미로 사용되어 왔으며 시대에 따라 다른 의미를 가지고 있었기 때문에 이 용어는 각 시대에 맞는 시대적 의미로 다시 정의되어야 할 필요성이 있다고 할 것이다. 특히 19세기는 화성 이론에 관한 많은 논서가 쓰여졌던 시대였으며 또한 전조에 관한 다양한 관점이 매우 활발히 논의되던 시대였다. 따라서 본 연구에서는 19세기의 다양한 조류 속에서 전조 이론이 어떻게 발전되어 왔으며 어떤 과정을 통하여 오늘날 우리가 전조라고 부르는 개념이 확립되었는지를 전조 이론을 연구함에 있어 중요하게 인식되어지는 19세기의 이론가들과 그들의 논의를 통하여 살펴보고자 한다. 19세기의 전조 이론에 관한 연구에 앞서 전조에 관하여 논의하였던 18세기 이론가들 중 주요 이론가와 그들의 논의를 간략하게 소개하고자 한다. Although the term "modulation" has a standardized meaning in our late 20th century theoretical discourse, this has not always been the case. In the 17th century and earlier, for example, "modulation" for the most part did not mean "a change of key," but rather referred primarily to proper musical shape, figures, conduct or context. During the 18th century, the term began to include "change of key" among its meanings, but not to the exclusion of its previous meanings. Some German authors from this period make a distintion between "Modulation"(generally used to refer to the overall aspects of harmonic progression-a sense roughly akin to our understanding to the term) and "Ausweichung"(usually used to denote the process of key change or the means necessary for the introduction of chromatic elements in a diatonic context-suggesting something closer to our "tonicization" perhaps). By the end of the 18th century, "modulation" had, for the most part, shed its earlier, generalized/modally-related meaning and assumed its more modem, exclusive one, but ambiguity still surrounded its usage well into the 19th century, this time in the form of a lack of differentiation between "modulation" used in reference to transient/localized harmonic events and "modulation" used in the 20th century sense of the term. In general, throughout at least the first half of the 19th century, the use of the term "modulation" in the sense of "tonicization" seems to be the norm. Indeed, the issue of large-scale harmonic motion is usually not discussed under the rubric of "modulation," but rather mentioned in the context of discussions of the articulation of formal structure. In the latter half of the 19th century, however, a clear distinction between modulation and tonicization is acknowledged with greater frequency. Chaikovsky's A Guide to the Practical Study of Harmony(1872) is the first treatise discussed here that at least implicitly differentiates between the two concepts. A second problem associated with the use of the term "modulation"―and this is a problem which persisted throughout the 19th century―is a widespread failure to differentiate between modulatory relations and modulatory techniques.

슈만의 피아노연곡에서의 이중 조성구조

배재희 한국서양음악학회 2010 서양음악학 Vol.13 No.1

Many movements from Schumann’s piano cycles have open-beginning structures and open-ended structures. There is no doubt that these open structures facilitate the nature of local connection and further unify the individual pieces to create a larger context. Unfortunately, open structure does not simply translate to a missing tonic chord at the beginning or end of the piece. It implies a structural meaning, in which the tonal definition of a piece is weakened in some way and influences or is influenced by the entire form of each piece. In this study, I explore the paradoxical nature of the Romantic fragment (complete and yet not complete), and examine the special features of Schumann’s piano cycles, in particular the fragmentary character of the individual movements as a primary component of piano cycles. The analysis of individual movements presented in this study supports the fragmentary character resulting from the ambiguous tonal shape which is based on relative mode relationships. The characteristic harmonic progression resulting from the tonicization of the relative mode may occur both in local level progressions of individual movements and large-scale tonal progressions. In small-scale events, it can be used as a common-tone relationship between tonic and relative modes through the reharmonization of a melodic line or an enharmonic relationship. In the large-scale progression, the tonicization of the relative mode not only reflects local harmonic events, but it also influences the tonal and formal shapes of the given movement.

Reprocessable and Reconfigurable Liquid Crystal Photoactuators Comprising Dynamic Thiourea Bonds

배재희,이진형,김동균,안석균 한국고분자학회 2022 한국고분자학회 학술대회 연구논문 초록집 Vol.47 No.2

Photoresponsive and Reconfigurable Liquid Crystal Elastomer Actuators with Dynamic Crosslinker

배재희,이진형,김동균,안석균 한국고분자학회 2022 한국고분자학회 학술대회 연구논문 초록집 Vol.47 No.1