배경음악이 무용의 동작순서와 정확성에 미치는 효과

宋壽男 中齋 張忠植博士 華甲記念論叢刊行委員會 1992 中齋 張忠植博士 華甲記念論叢 Vol.3 No.-

UO_(2+X)의 원자비 결정에 관하여

송수남,조혜숙 이화여자대학교약학회 1970 梨花藥學硏究 Vol.- No.11

The oxidized states of uranium oxides was obtained with ignition method when UO_2 powders has been exposed to air for three years and the reducing UO_2 power oxidized; UO_2 powder was made into U_3O_8 which is the highest oxidizing state and decided O/U ratios with the increased weights. According to the literature U_3O_8 was got by igniting sample in air for five or four hours at 470℃ and 900℃ respectively, and determined U_3O_8 with NAD(Nitric acid dissolution of Uranium oxide). The O/U ratio of exposed to air UO_2+x was 2.17 and that of reduced uranium oxide 2.02. In addition, the experiment of stable oxidizing states and those heat contents with TGA & DTA was performed.

靑田과 小亭을 통해서 본 현대 韓國畵의 方向 定立

宋秀南 弘益大學校 1982 弘大論叢 Vol.14 No.1

In recent years Korean society began to question the western thought and methods: Koreans had indiscriminately imported in the past. This trend also found no exception in the world of Korea's traditional painting, which is commonly called "Oriental Painting" in distinction to Western Painting. The experimentation the Korean Oriental painters have been conducting since the 1950s has indicated the fact that to be successful the experimental works must be based on the spirit and content of traditional Oriental painting. This awakening to self-identity and questioning of alien thought and methods helped the Korean painters to awaken interest in the painters of the late Choson period on the one hand, and on the other led them to re-appraise their works. This paper aims at charting a new direction for Korea's Oriental Paining by means of a comparative study of Yi Sang-bom(Cheongjon) and Pyon Kwan-sik(Sojong), the two representative painters of the modern period, who established a style peculiar to. Korean painting independent from the substreams of Chinese painting. This paper is composed of six chapters dealing with 1) the present situation of Oriental Painting, 2) historical background, 3) pictorial background 4) comparison of their paintings. 5) Korean nature and spirit as expressed in paintings, 6) a new direction for Korea's Oriental Painting

朝鮮後期 創作된 呈才舞에 관한 연구

宋壽男 단국대학교 1993 論文集 Vol.27 No.-

It was during the latter period of Choseon dynasty that a lot of 'Gungjung Jeongjae' was designed and became active. This study aims at understanding such historical backgrounds of the period, groping the Jungjae-Mu which were designed at that period, and comparing/analysing these dances according to the contents, thesis, the used music, and the used of the space. The major finding of this study can be summerized as follows : 1. The Jungjae-Mu in the preceding period of Choseon dyansty was reconstructed and put in order during the period of Yeong-Jeong Jo, and a lot of Jungjae was designed by prince Hyeomyeong and his assistant, Kim Chanha during the period of Soon Jo. 2. Jungjae-Mu, designed mainly by prince Hyeomyeong, not only displayed the dignity of dynasty, but also had much artistic merit. 3. The music used for Jungjae-Mu was mainly composed of Boheojaryeong and Hyangdangkyeoju, and the words were changed from using just chinese characteristics to using Korean and Chinese characteristics in combination. 4. It is found that the stage, such as Daemoban or Yundae, were used and the dances were qualitatively progressed in this period.

身體姿勢가 全身反應時間에 미치는 影響

宋壽男 淑明女子大學校 1981 論文集 Vol.21 No.-

The purpose of this study was to Compare and anayze the effects of the body posture on the Whole Body Reaction Time in both Sexes. The body posture was analyzed into its three factors; angle of leg fleyion(straight, 30° flexed), position of C.O.G. in foot, direction of reaction Movement. The Subjects were 63 fresh men. (28 males and 35 females). The Whole Body Reaction Time Measurement Apparatus was used by the method of Nested Factorial Experimental Design, and the data were analyzed by 2^3 orthogonal array method. The results were as follows. 1. Angle of leg flexion made difference of W.B.R.G. in trmale but not in male. 2. Position of C.O.G in foot made no difference of W.B.R.T in both Sexes. 3. Both Sexes had faster W.B..T in the X-axis direction of reaction Movement. 4. Factor interaction Movement in male, But not in Female. 5. Both Sexes were showed personal differences of W.B.R.T.

창의적 무용 움직임이 언어 인지 기술 발달에 미치는 영향

송수남 한국초등무용학회 1997 한국초등무용학회지 Vol.2 No.1

The purpose of this study was to investigate whether or not there was a meaurable difference in learning and retention of spelling words among group of children who were exposed to three different teaching methods. A further purpose was to investigate whether the effects of the methods wiuld be measurably different for two age groups : third(N=60) and fifth graders(N=60). A two factor repeated measures design was used to investigate these researchable questions. The first factor of the design was a three level manipulated treatment variable : Groups had spelling only : Group II had regulated movement and spelling : Group III consisted of creative dance movement and spelling. In the study there were three major hypotheses. First : children exposed to a creative dance movement activity which integrated physical movement and creative dance movement will have higher mean test scores than children who were exposed to no movement activity or to regulated movement activity unrelated to spelling instruction, Second : Third graders test scores in spelling will have no different effect size that of fifth graders who are learning spelling under the same condition. Third : children taught spelling using the creative dance movement approach will have no different scores on retention test at four week intervals, when compared to those of the regulated movement and no movement grouts. Data did not supported. Children exposed to a creative dance movement activity was higher mean test(spelling and retention) scores than children who were exposed to movement activity or to regulated movement. This is consistent with the work of Gilbert(1979) which indicate that creative dance can help develop and promote basic concepts and mental characteristics which are considered important to intellectual functioning. This study has given a model for future research and has given further credibility to the idea that "normal" children can benifit from an integrated program of movement activities.

舞踊에 있어서 創作과 演技에 關한 考察

宋壽男 淑明女子大學校 1980 論文集 Vol.20 No.-

Dance seems to have three major aspects, i.e. production, performance and appreciation. Accordingly, the educational Value of dance will emerge as meaningful when a total Concentration and emphasis of this activity is placed upon composition, performance and critical appreciation of dance. However, more fundamental Constituents of dance must have been dancing and making of dance. It seems that too much emphasis has been put upon production of dance, or on "creatine" function of dance, in Korea in this quarter century, neglecting and at the expense of what maybe called "re-creative" function inherent in performing dances. Dance as an age-old form of art and fodily activities has originarily cmphasized the two aspects of forming and performing of dances that emerged from single root. Formation or production of dances, as chareography, became an independent activity only after separation had taken place between dancers and audiences. If too much emphasis is given to performance aspect of dance, crealivity would be dwarfed. just as over emphasis on dance composition would result in formal abstraction devoid of life, delight, freedom and spontaneity. A well-balanced integration has always been necessary between Composing and performing dances. Dance as a creative art (choreography, dance Composition) and dance as a physical art of performing are but two extremes of a polarity. In actual instances, the two activities of dacing and making always Co-exist, one complementing the other. One-side emphasis on either extreme of the polarity will result in losing educational Values of dance. The very curricular unit of "dance appreciation" will be meaningful only when the dance in understood by students both in compositional and behavioral terms.

UO_(2+X)의 원자비 결정에 관하여

송수남,조혜숙 이화여자대학교 약학회 1970 梨花藥學會誌 Vol.- No.11

The oxidized states of uranium oxides was obtained with ignition method when UO_2 powders has been exposed to air for three years and the reducing UO_2 power oxidized; UO_2 powder was made into U_3O_8 which is the highest oxidizing state and decided O/U ratios with the increased weights. According to the literature U_3O_8 was got by igniting sample in air for five or four hours at 470℃ and 900℃ respectively, and determined U_3O_8 with NAD(Nitric acid dissolution of Uranium oxide). The O/U ratio of exposed to air UO_2+x was 2.17 and that of reduced uranium oxide 2.02. In addition, the experiment of stable oxidizing states and those heat contents with TGA & DTA was performed.

體育目標分類에 關한 小考

宋壽男 淑明女子大學校 1976 論文集 Vol.16 No.-

The purpose of this research this analysis of the meaning and objectives of the physical education in view of mordern society that has been changed rapidly and reclassify its objectives. Definition and objectives of physical education has been analyzed by referring to the theories suggested by Williams, Hetherington, Bucher, Nixon, Zeigler, Borrow, Bookwalter and Vanderzwaag, Nash, Brownell and Hagman. Physical Education is defined as "Change of human behavior through programmed physical activities." Objectives of physical Education is classified as follow ① Physical development objectives ② Motor and movement development objective. ③ Cognitive development objective. ④ Social development objective. ⑤ Recreational objective. In the light of this research, the list of physical education objectives (by Ministry of Education) must be reclassified.

현대미술에 있어서 수묵의 가능성 모색 : 추상성 고찰과 미의식의 확장 With centering around A abstract idea and extension of the aesthetic

송수남,정진룡 홍익대학교 산업디자인 연구소 2002 미술디자인 논문집 Vol.- No.7

The purpose of this research concentrated at how and esthetic essence of india ink acquire beauty of catholicity in the emotion of contemporary painting. The process of transition of occidental art history had been made by reaction to the former ages. A trend occidental thought is no more dominated in the spirit of modern art, but modernity has been as a monopolistic metaphor of occident as ever. It is common reality that an endless discussion without conclusion and guaranteed freedom but given a chaos has been caused by an acute opposition of an ideology and ideal between East and West. This thesis try debate of relativity about an intuition of Oriental aesthetics and a concept of occidental aesthetics to relieve like this structure of aesthetical opposition. In addition to study how make connection between oriental aesthetic what's depend on intuition and occidental aesthetic that understood in the area of concept. A reason of compare aesthetics of Modernism related to abstractionism with a way of recognition from intuition what used to traditional sense of beauty in the east, is to find. Commonness and similarity between abstract of Modernism aesthetics and traditional abstractionism in the nature of Indian Ink for aesthetic of Indian Ink endow Communicational way in Art condition of Today. hereupon an epitome of this thesis is study how to connected aesthetic of contemporary art with the trend of spirit what latent india Ink then. In the end, Search out a role of India Ink as a new paradigm in 21 century. It is dominant view that a possibility of modern art is not found in a scientific rationalism or technical reliance but mental heritage of East cultural area, moreover, it is obvious that an anti-occidental rationalism can found. in the Eastern spiritual culture. If inner world of india ink, related to the trend of Eastern spirit, for example, meditative characters, introspection etc, interfered by the confucianism, a literary man doctrine as past period. It will be feeble absolutely. A way of expression with india ink is always intended to abstractional thinking but idea of past period is not constant merit permanently, furthermore, from a Art point of views, depend on private decision and potential ability. Consequently, it is necessary that succession and reconsideration about traditions must be repeated constantly.