초등학교 저학년용 영양교육 소책자 개발 및 효과 분석

손민정(Min Jung Son),조영숙(Young Sook Cho),김세나(Se Na Kim),서혜지(Hye Ji Seo),김숙배(Sook Bae Kim) 대한지역사회영양학회 2011 대한지역사회영양학회지 Vol.16 No.6

The purpose of this study was to investigate effects of nutrition education program and pamphlet for the lower grades elementary students focused on individual daily needed food exchange units using Food Exchange System. Program consisted of four lessons (40 min/lesson), 5 major nutrients & function, 6 food group and sources, daily needed food exchange units for normal body weight, and smart snack choice and exercise. Pamphlet as activity book was developed for the program. The subjects were 3rd grade elementary students (educated group, 31 vs. non-educated group, 31). Educated group were lessoned as group and/or individual. We examined the differences in nutrition knowledge, dietary attitudes, dietary intakes and satisfaction of the program and pamphlet. In educated group, there were positive improvements on nutrition knowledge score function and foods of 5 nutrients and on dietary attitudes type of breakfast and snacks. In the evaluation of dietary intakes according to KDRI, there were positive improvements on intakes level of riboflavin, vit. C, folate, Ca, P, Fe and Zn in educated group. In satisfaction with the program and pamphlet, contents, font size, visual, figure, difficulty and program curriculum were over 2.90/3.0. It showed that the developed nutrition education program and pamphlet focused on individual daily needed food exchange units using Food Exchange System improved nutrition knowledge, dietary attitudes and nutrients intake level in the lower grades elementary students. (Korean J Community Nutr 16(6) : 647~660, 2011)

현대음악 앙상블의 리허설 담론 분석

손민정(Son, Min-Jung) 한국교원대학교 교육연구원 2020 敎員敎育 Vol.36 No.2

본 연구는 2012년에 결성된 한국 현대음악 단체 project21AND의 제4회-제6회 정기연주회(2016-2018년) 리허설 담론을 분석함으로써 한국 현대음악의 의미생성 과정의 현장을 질적으로탐구하고자 하였다. 연구의 목적은 한국 현대 음악 전반의 흐름을 분석하는 것이 아니라, 일부일지라도 현재 활발하게 작품 활동을 하고 있는 음악인들의 역동적인 음악 만들기 과정을 심층적으로해석하는 것이다. 연구에서 취했던 방법론은 현장중심의 인류학적 연구이며, 본 논문에서는project21AND의 상임 작곡가 김정훈의 <Chorus (2016)>와 공모 작곡가 전현석의 <De Tuin derLusten (2018)> 리허설 담론을 집중적으로 분석하였다. <Chorus>는 제4회 정기연주회(2016년)를위한 작품으로서 project21AND의 설립자이자 상임 음악감독인 김승림과 김정훈이 지휘자와 작곡가의 역할로 음악 만들기에 공조했는가 하면, <De Tuin der Lusten>의 경우는 제6회 정기연주회(2018년)를 위한 공모에서 선정된 작품이었기에 project21AND의 내재적인 특성을 드러내기에 적합하였다. 분석의 틀은 긴스보르와 킹의 리허설 담론 연구와 고든의 현대음악 리허설 논의를 기본으로 했으며, 질적연구 소프트웨어 <NVivo12>를 활용하여 코딩하였다. 이 때, 제4회-제6회 정기연주회에 참가한 총 13인의 작곡가와의 개별면담을 통해 ‘음악적 실험’을 추구하고자 하는 공통적인 인지적 맥락을 도출하였으며 이를 리허설 담론 분석의 근거로 삼았다. 실제로 리허설은 연습리허설과 공연 리허설로 구분되었으며, 연구자는 리허설 내내 작곡가, 연주자, 지휘자 간의 대화를녹취 및 녹화를 실시했다. 두 경우의 리허설에서 기록된 대화를 전사하여 코딩한 결과로 도출된코드는 ‘작곡가의 작품에 대한 성찰’, ‘악보 보완 및 수정’, ‘악기 주법’, ‘연주자의 물리적 배치’, ‘공연에 대한 설명’ 등이었다. 이는 작곡가 면담에서 도출되었던 ‘음악적 실험’에 관한 가치관과 일맥상통한 것을 확인했으며, 작곡가, 지휘자, 그리고 연주자 간의 민주적인 상호관계가 형성되어 있음을 알 수 있었다. The purpose of this study was to qualitatively explore the musical meaning generation process of Korean contemporary music by interpreting the rehearsal discourse of a Korean contemporary musicgroup project21AND (est. 2012), focusing on the 4th~6th periodical concert (2016~2018). This research was not geared to analyze the entire spectrum of Korean contemporary music, but to interpret the dynamic music-making process of certain active a vant-garde musicians. The researcher has not only been participating in their music-making process as a music critic since the foundation of the organization, but also established a strong rapport with the members. The method ologyutilized in this study is field-oriented anthropological research, and the analyzed pieces in this article include Kim Jung-hoon s <Chorus (2016)> and Jeon Hyun-suk s <De Tuin der Lusten (2018)>. KimSeung Lim and Kim Chunghoon, the two key members of project21AND collaboratively worked as a conductor and a compsoer respectively in the music-making of <Chorus>, while Chun as anofficially chosen composer by the group realized his work, <De Tuin der Lusten>. The framework of the analysis was based on Ginsborg and King s research on rehearsal discourse and Gordon s discussion on contemporary music rehearsal, with the help of the qualitative research software NVivo12. In addition, 13 composers were interviewed who participated in the 4th to 6th regular concerts, and this research found their common cognitive ground, ‘musical experiment’ to contextualize the rehearsal discourse of the two exemplary cases. Rehearsals were divided intopractice-rehearsals and performance-rehearsals, and conversations were recorded between composers, performers, and a conductor throughout the rehearsals. The codes resulted from the interpretation of the dialogue recorded in the rehearsals in both cases include the following:‘composers contemplations on their works; ‘editing and changing the acoustic details; ‘instrumental renditions; and ‘physical arrangement of the performers. In conclusion, the rehearsal discourses of project21AND emphasized the search for new sounds and unveiled the values of the ‘musical experiment derived from the composer interview, and the discourses that were produced through the dynamic interrelationships between the composers, the conductor, and the performers.

미세먼지와 식물의 상호작용: 국내외 연구동향 및 생태적 영향 고찰

손민정,남기정,Son, Min-Jeong,Nam, Ki-Jung 한국하천호수학회 2020 생태와 환경 Vol.53 No.4

대기 중 미세먼지가 환경과 인간의 공중 보건에 악영향을 미치고 있다는 사실은 점점 명확해지고 있다. 미세먼지가 식물의 잎에 침착, 흡수되므로 식물이 미세먼지를 제거하는 바이오필터로 활용하기 위한 연구들이 활발히 진행되고 있다. 또한, 식물에 흡수된 미세먼지는 식물에 다양한 생리적, 형태적 영향을 미치게 된다. 본 연구는 식물과 미세먼지간의 상호작용에 대해 국내외에서 수행되어온 연구들의 방법과 결과를 특히 생태적 관점에서 종합 정리하였다. Airborne particulate matter (APM) is increasingly recognized that it has adverse impacts on environment and human public health. As plants can have a potential to reduce APM significantly by its deposition on leaves, considerable efforts has been made to use them as a biofilter. However, APM accumulation on plants can induce physiological and morphological alterations in plants. The present review aimed to synthesize the methods and results of the recent relevant research on interactions between plants and APM, especially from an ecological perspective, and briefly took into account the current status in Korea on this actively increasing research area.

수정체 상피세포에서 TGF-β에 의한 MMP-2와 MMP-14의 발현과 조절 기전

손민정,김종탁,주천기,Min Jung Son,B,S,Jong Tak Kim,Choun Ki Joo 대한안과학회 2006 대한안과학회지 Vol.47 No.7

Purpose: TGF-β is a key regulator of epithelial-mesenchymal transition. Among the TGF-β responses, cell migration is closely associated with the expression of matrix metalloproteinases (MMPs). Therefore, we determined which MMPs are regulated by TGF-β and examined the TGF-β signaling involved in this event, focusing on Src family tyrosine kinases (SFKs) Methods: First we examined the expression of MMPs in rat lens explant culture treated with TGF-β and LECs attached to the anterior capsules of patients with nuclear (N), anterior polar (AP) cataracts using RT-PCR and immunofluorescence staining. It was examined whether the expression of MMPs is regulated by SFKs. Results: The study using RT-PCR and immunofluorescence staining showed the expression of MMP-2 and -14 in explants and the expression of MMP-14 LECs of AP cataracts. The expression of MMP-2 and -14 was blocked by PP2 in explants. Furthermore, the activated form of SFKs was observed in LECs of AP cataracts by immunofluorescence staining. Conclusions: We suggest a novel role of SFKs signaling in the expression of MMP-14 induced by TGF-β.

발자크의 『강바라』를 통해 본 19세기 초 파리 음악관의 변화 -마이어베어의 ≪악마 로베르≫ 분석을 중심으로-

손민정 ( Min Jung Son ) 한국음악학학회 2015 음악학 Vol.23 No.2

마이어베어의 오페라 ≪악마 로베르≫는 파리에서 1831년 초연된 이후 대성공을 거둔다. 6년 후 1837년, 발자크는 소설 『강바라』에서 천재 작곡가 강바라의 입을 빌어 이 오페라를 해석한다. 마이어베어와 그의 작품들은 19세기 유럽을 강타했음에도 불구하고 20세기에 철저히 외면당했다. 그러던 중, 1990년대 이후 최근까지 그와 그의 음악세계에 대한 재해석이 활발하게 이루어지고 있는 상황이며 본 연구는 이러한 학문적 동향에 가세하여 진행되었다. 뿐만 아니라, 문학작품을 통하여 음악문화를 분석함으로써 음악사를 입체적으로 접근하려고 한다. 소설의 주인공이 주장하는 두 가지 상반되는 해석을 통하여 19세기 파리의 음악적 실제와 경향 및 비평의 움직임을 파악하고자 하였다. 강바라는 술에 취한 상태에서는 극찬을 하는가 하면, 술에서 깨어난 뒤에는 비난을 힐난하게 한다. 이는 대중의 취향과 이에 대비되는 출판업자 슐레징어의 의도 및 언론계의 움직임을 문학적으로 표현한 것이며 발자크는 궁극적으로 슐레징어의 의도에 부합하여 독일의 관념적 낭만주의를 지향하고자 하였음을 알 수 있다. Meyerbeer’s Opera, Robert le Diable, gained a huge success since the premiere in 1831. Six years later in 1837, Balzac wrote a novel, Gambara, depicting that a genius composer, Gambara, disputably interpreted this opera. Meyerbeer and his music was received extremely well in the 19th century, while it was completely forgotten during the 20th century. Now, we can currently see that there have been interesting attempts to rediscover the values of Meyerbeer and his music. This present research tries to reflect on this current scholarly interest on Meyerbeer, and, furthermore, extend music history to cultural studies, utilizing literature research. Gambara, in this novel, has two opposite viewpoints regarding Meyerbeer and his opera, which implies that public audience of Paris-drunken Gambara-and critics-sober Gambara-stood in different directions in the 19th century. Balzac and his publisher Schlesinger, in doing so, harshly criticized the taste of the Parisian audience, and provided the German romanticism as an alterative and futuristic new musical aesthetics.

국제표준을 적용한 농산물 물발자국 산정 -배추 사례연구를 중심으로-

손민정 ( Min Jung Son ),김익 ( Ik Kim ),차경훈 ( Kyoung Hoon Cha ) 한국전과정평가학회 2013 한국전과정평가학회지 Vol.14 No.1

물은 인간생활 및 생태계에 없어서는 안 되는 필수자원이다. 하지만 인간의 무분별한 생산활동으로 인해 한정된 자원인 물을 과다 소비하여 물 부족 현상을 야기하였으며, 수자원 오염으로 인한 환경피해는 갈수록 가속화될 것으로 전망되고 있다. 이러한 현상을 완화하기 위하여 국제사회에서는 수자원에 대한 지속적인 관리의 필요성을 제기하였으며, 물도 기후변화나 환경문제처럼 세계적인 협력과 과학적인 접근이 필요하다고 강조하고 있다. 현재 수자원 관리를 위한 효과적인 지표로 물발자국(Water footprint) 개념이 제안되어 널리 사용되고 있는데, 이는 대상의 전 과정에 걸친 물 사용에 대하여 수량과 수질 측면에서 환경영향을 통합적으로 관리할 수 있다는 점에서 정책적인 활용도가 매우 높다. 따라서 국제사회는 물발자국을 활용하여 효과적인 수자원 정책을 마련하기 위해 이를 산정하는 표준과 지침을 개발하고 있다. Water as an essesntial to life is an indispensable resource. Sustainable water management is needed as one of measures against water depletion and degradation by human activities. This study aimed to develop methodology to evaluate water footprint throughout life cycle of the products as a tool for sustainable water management. The methodology was developed in accordance with ISO 14040s and ISO DIS 14046. Water inventory is the amount of water consumption by water types. Water consumption from direct and indirect sources is calculated to apply Korean life cycle inventory database. Based on the result of water inventory, water-related environmental impacts considering water depletion and degradation is calculated. Case study on cabbages was conducted to evaluate water footprint over the product``s life cycle according to the aforementioned methodology.

베를리오즈의 과학,기술적 사고에 관한 고찰

손민정 ( Min Jung Son ) 민족음악학회 2014 음악과 민족 Vol.48 No.-

Hector Berlioz(1803-1869), a French composer from the Romantic period, published diverse music-related articles and bizarre yet interesting stories, heavily influenced from future-oriented science and technology during the Industrial Revolution in the mid-19th century. His representative works include systematic and acoustical analyses of orchestra, conducting, instrumentation, and orchestration. We can find all of those researches in Grand Traite d`instrumentation et d`orchestration modernes(1844). His writings include novel Soirees de l`orchestre(1852), in which narratives of short stories, tales, gossips, and anecdotes are told. This article focuses on these two different publications, investigating his musical and literary interpretations on the modern scientific and technological development of those times. Berlioz was, first of all, interested in the acoustical process of sound, such as the `reverberation[reflection]` in the concert hall. He insisted that sounds should be transferred to the audience differently according to the surface materials of the hall, distances between the sound and the reverberation walls, and the dispositions of the performers. He also experimented several different arrangements of the musicians, building a platform for the orchestra in order to solve the logistical and acoustical problems caused by the chorus in front of the orchestra. Berlioz assiduously adopted newly invented devices for the performances, maximizing the range of the instrumentation and setting electric metronomes for the multiple assistant conductors. He perceived music as a spatiotemporal energy, not an one-dimensional static entity. This article, in addition, deals with the literary interpretation of his scientific mind. Berlioz wrote “Euphonia,” a science fiction and the 25th evening story of Soirees de l`orchestre. With the Saint-Simonian viewpoint and futuristic eyes on the industry, he imagined a musical utopia fully armed with science and technology. The steam-powered organ he placed in the middle of the city anticipated the electric organ, while the visual telegraph that euphonians communicated with was an archetype of the live video calls of the smart phone. This research unveiled that Berlioz was a true revolutionary music maker, carving the way of sound productions as well as the music creations.

음악인류학의 방법론에 관한 실제적 고찰 -트로트 연구 사례를 중심으로-

손민정 ( Min Jung Son ) 민족음악학회 2013 음악과 민족 Vol.45 No.-

This study is an alternative exploration of Ethnomusicological research methodology, particularly dealing with three issues involved in a case study of t`uro t`u, a Korean popular song style. The three issues are (1) Researcher’s Double Standpoint: Emotional Spectator vs. Participant Observation, (2) Researcher’s Double Identity: Insider vs. Outsider, and (3) Researcher’s Multilineal Communication: Reality vs. Cyber. Differentiated from existing theoretical studies regarding the ethnomusicology methods published in Korean academic journals, this article tries to examine practical and experiential issues that researchers can face in their fieldwork, the key element of the ethnomusicology research. In addition, this article tries to transform ethnomusicological methodology into an open-ended (or subject-centered) discipline, while the existing researches tend to be mostly theory-centered. The first issue, “Researcher’s Double Standpoint: Emotional Spectator vs. Participant Observation”, interrogates the process in which a researcher becomes a welcomed spectator and then turns to be a participant observer/scientific analyst. As seen in the 16th century ethnography, particularly Jean De Lery’s, a researcher needs to be emotionally attached to the research subject. Meanwhile, a researcher, as a legitimate scholar, applies scientific methods to the analysis of the subject, as witnessed in the archival studies between 17th century and 19th century. The second issue, “Researcher’s Double Identity: Insider vs. Outsider”, examines the diverse relationships between informants (insiders) and a researcher (outsider), a native researcher (insider/outsider) and the international academia (outsiders). In particular, this article points out that native scholars who study working people’s music should consider the innate tension running through the Korean social structure as well. Finally, the third issue, “Researcher’s Multilineal Communication: Reality vs. Cyber”, explores the contemporary cyber communication, since this modern cyber media refer to mass yet dynamically interactive communication characteristic of recent times. Moreover, this article suggests that researchers should also consider an alternative multilineal way to communicate with readers/viewers/users through the hypermedia.

디지털 시대의 음악적 소리, 행위, 가치체계의 변화

손민정 ( Min Jung Son ) 한국기호학회 2014 기호학연구 Vol.39 No.-

디지털 시대의 대표적인 음악청취형태는 ‘이어폰’을 끼고 ‘휴대폰’에 자신만의 취향대로 저장해둔 ‘음원 라이브러리’의 음악을 들으며 길을 걷거나, 다른 업무나 행동을 병행하는 것이다. 음악은 어느새 전자파일의 형식의 음원으로 변화하였으며 이에 따라 사람들은 점점 음악을 수용하는 행위, 음악으로부터 기대하는 가치체계를 달리 하게 되었다. 일각에서는 극도로 고립된 개인적인 음악청취는 결국 사회적인 소통의 부재로 이어질 수도 있다고 우려한다. 그러나 작년 (2013년)부터 전 세계적으로 라이브 음악이 활성화되는 특이한 현상을 경험하게 된다. 1999년 냅스터가 출범하면서 본격적으로 시작된 인터넷 시대에 끝없이 추락하던 음반판매 역시 작년에는 호조를 보였다. 이에 본 논문은 최근의 음악적 현상과 흐름을 해석하고자 한다. 음악인류학에서는 음악을 소리적(sonic) 측면과 더불어 음악에 관련된 행위 (behavior)와 의미(metaphor)를 연구대상으로 삼는다. 논자는 음악인류학적 접근을 응용하여, 음악을 소리체계가 아닌 기호체계로 확대시키고자 한다. 우선, 20세기 초음반이 생산되면서 음악이 복제되기 시작하던 시점으로 논의를 거슬러 올라간다. 1930년대 라디오의 전성기를 맞이하면서 전파를 통해 전달되는 음악에 상응하는 개념으로 공연은 ‘라이브 뮤직’이라는 새로운 용어로 덧입혀진다. 한동안 복제된 음악은 부차적이고 종속적인 자리를 벗어나지 못하다가 오디오 테크놀로지의 눈부신 발전에 힘입어 고유의 ‘진정성’을 얻게 된다. ‘오디오 애호가’라는 개념이 대두되던 시점이다. 복제된 음악도 그 자체로 진정한 음악청취가 될 수 있는 것이다. 1980년대에 이르면 워크맨의 개발로 인하여 음악은 움직일 수 있게 되고, 시공간의 제약으로부터 완전히 해방된다. 개인성이 발현되기 시작한 것이다. 급기야 인터넷의 시대에 들어서면, 음악은 각종 -불법이건 적법이건 간에- 다운로드를 통해 공유화된다. 뿐만 아니라 음악수용자와 음악생산자는 다양한 소셜 네트워크를 통해 감성을 교환한다. 가장 고립적일 것으로 예상되던 디지털 시대의 음악적 가치 체계는 오히려 ‘인터렉티브 뮤직(interactive music)’으로 변하게 된 것이다. 이와 같은 음악현상의 변화는 최근에 일어난 라이브 공연의 활성화와 앨범판매의 호조를 설명할 수 있다. 디지털 커뮤니케이션의 횟수가 잦아진 만큼 구체적으로 세밀화 시킬 수 있는 고전적인 커뮤니케이션이 요구되기 때문이다. The habit of headphone listening to music, more specifically music files downloaded in his/her online library, via mobile devices while studying and working, or walking is common in our digital age. As music becomes invisible digital files, people receive music differently, in terms of their behavior and metaphor. This newly invented musical culture has been considered the cause of extremely disconnected social relationships. However, the live music economy re-emerged globally last year, and we could also see the rise of the record sales after the ten year fall with the introduction of Napster (a pioneering peer-to-peer file sharing Internet service) in 1999. This paper deals with these unexpected transformations of the digital age. Ethnomusicology regards music as a tri-fold sequencing system, consisting of sonic elements, behavioral aspects, and embedded meanings/values. This research, adopting an interdisciplinary approach of ethnomusicology, tries to expand the scope of music to a cultural phenomenon. Firstly, the paper goes back to the emergence of the recorded music in the early 20th century. The term ‘live music’ was coined and provided a symbolically privileged position to performance, when the recorded music was relentlessly re-played during the heyday of radio transmission in the 1930s. However, the recorded music becomes another authentic music experience as its involved technologies such as the multitrack recording and other hi-fidelity audio systems developed. Additionally, music has been liberated from the spatial constraints as the walkman (a portable cassette player) was introduced to the public by Sony in the 1980s. People, thus, began to express their individualities through this personalized music culture. Finally, music became a public property, whether legally or illegally, shared through the Internet. Music providers (creators) and consumers (listeners) exchange their emotions via diverse social networks more freely than ever before. The extremely interactive, social, and dynamically changeable music communicated in the Internet laid the foundation for a revitalized live music industry and record sales. In conclusion, as digitalized communication has been widespread, the demands of the classical face-to-face communication increased to compliment the informationcentered digitalized relationships.

학술 논문 : 악보산업 양상을 통해 살펴본 한국 현대음악문화사

손민정 ( Min Jung Son ) 서울대학교 음악대학 2010 음악이론연구 Vol.15 No.-

This research tries to find an alternative method to explore the contemporary Korean music culture involved in the score publication industry. The Korean score publication industry began during the modernization period, and developed as a crucial music industry around the Korean War. This research, as an initial attempt in this area, focuses on the intricate relations between the score publication industry and the music culture after the Korean War. In doing so, this work examines contemporary Korean social circumstances deeply related to the score publication industry, such as the Korean War in the early 1950s, joining of the Universal Copyright Convention in 1987, the glory days of rock bands (also called group sound) in the 1970s, the emergence of middle-class ideology in the 1970s~80s, curriculum of public school, and the transformation of popular music idioms. The method of this research is based upon extensive interviews with those who have been related to the score publication industry, such as managers of major score publishers, salespersons of music scores, and diverse consumers. The memories of the informants were cross-examined with archival works, including journals and newspapers. This article consists of three parts: (1) Emergence of Popular Songbooks: 1950s ~ 1970s, (2) Heyday of Piano Scores: mid 1970s ~ 1990s, (3) Current Situation: 2000s.