시_신대철

신대철 새얼문화재단 2007 황해문화 Vol.54 No.-

논단 1-유도 전동기의 소음

신대철,Sin, Dae-Cheol 한국전기산업진흥회 1997 電氣産業 Vol.8 No.5

논단 1-유도전동기의 소음

신대철,Sin, Dae-Cheol 한국전기산업진흥회 1997 電氣産業 Vol.8 No.4

생활체육에서의 운동재활 역할과 향후과제

신대철,조건상 한국운동재활학회 2009 JER Vol.5 No.1

This study is aimed examining excercise rehabilitation on the role and the forward problem of sport for all through documents study. Sport for all is also related to welfare when it comes to its health welfare and social welfare aspect. Health welfare means a happy life or an sport for all environment for a happy life. excercise rehabilitation is a role for exercise of rehabilitation and exercise through rehabilitation referring to the health welfare of sport for all area. Exercise rehabilitation welfare is included in health welfare its broad meaning. It means social effort for the stability of people's life or medical matters. As a result, there always exists neglected classes on the other side of exercise rehabilitation development. For them, sport for all part of exercise rehabilitation should make and implement a proper policy.

박두진 연구 15

신대철 국민대학교 어문학연구소 1999 語文學論叢 Vol.18 No.-

박두진은 <문장>지 추천 당시 인간의 근원적인 문제인 삶과 죽음에 대한 회의를 기독교 사상으로 해결하고 기독교 문학관을 갖게 되는데, 실제 작품은 신앙시보다는 자연시가 더 많다. 좀 더 구체적으로 말하면 신앙시라 하더라도 기독교 이념이나 이상을 노래한 시가 주종을 이루고, 시인의 자선 신앙시도 기도의 형태를 띠었을 뿐, 구체적인 신앙 체험은 제시되지 않고 있다. 박두진의 <문장>지 추천 당시의 시관은 신념에 차 있지만 시 세계는 신념보다는 동경적 차원에 머물러 있다. 추천작을 통해서 보면 「香峴」과 「墓地頌」은 기독교의 이상에 대한 동경을「落葉松」, 「蟻」, 「들菊花」 등은 시인의 자연에 대한 동경과 친화 감정을 통해 생래적인 자연인의 모습을 보여 준다. 특히 「靑鹿集」 미수록시들에는 자연인으로서의 인간적인 정서가 더 두드러지게 나타난다. 줄여 말하면 박두진의 데뷔전후 시기는 시와 종교가 만나는 실험적 모색기라 할 수 있는데, 이 시기의 작품들은 두세 작품을 제외하면 대부분 새 날에 대한 동경과 기다림을 노래하고 있다.

금산지방의 인삼직파재배에 관한 연구 : 직파재배인삼의 생육과 수량을 중심으로

신대철 충남대학교 농과대학 1999 논문집 Vol.- No.5

한국 전통음악의 생성 원리

신대철 한국국악학회 2010 한국음악연구 Vol.47 No.-

우리의 전통음악에 관련된 연구는 주로 음악실체나 악기 및 음악과 관련된 주변상황을 대상으로 하여 대부분이 역사적 관점과 음악 실제에 대한 조사ㆍ분석적 관점에 기초하여 이루어져 왔다. 즉 고문헌이나 고악서ㆍ고고학 자료 등에 기초한 역사적 연구와 현장 조사에 기초한 채록된 음악 분석 중심으로 우리 전통음악 연구는 행해져 왔다. 반면에 우리 전통음악의 근원을 사변적(思辨的), 혹은 미학적으로 살펴본 연구는 상대적으로 드물었다. 이 글은 기존의 위 두 가지 중심의 연구와는 달리 우리 전통음악의 근원을 사변적, 혹은 미학적으로 살펴보려고 시도한 연구의 결과이다. 그 결과 우리 전통음악은 토속성(土俗性), 변통성(變通性), 적층성(積層性), 곡선성(曲線性), 공유성(共有性)을 음악의 생성원리로 하고 있다고 파악되었다. 물론 오직 이 다섯만을 우리 전통음악의 모든 생성원리라고 파악할 생각은 전혀 없다. 우리 전통음악에서 확인될 수 있는 생성원리에는 이외에도 여럿 있을 수 있다. 이러한 생성원리를 찾아내어 우리 전통음악의 근원을 찾는 작업도 우리의 전통음악 연구를 위해 필요한 한 분야가 아닐까 생각해 본다. 이러한 의미에서 이 글이 우리 전통음악을 사변적, 혹은 미학적으로 바라보는 연구의 한 출발선이 된다면, 그것으로 만족하겠다. Based on the historical and analytical perspectives which mainly have handled practical music, musical instruments and several musical peripheral situations, most Korean traditional music concerned researches have been studied until now. In other words, Korean traditional music mainly have been studied from the perspectives based on the old musical literatures, anthologies, archaeological materials and transcribed music from collected materials by researchers’ own and others‘ field works. However, the number of speculative or aesthetical studies on the roots of Korean traditional music has been relatively rare. This paper is a result of my attempted study, different from the upper mentioned two existing historical and analytical studies, on the roots of Korean traditional music from the speculative or aesthetical perspectives. As the conclusion of this study, it can be said that several confirmed generative principles in Korean traditional music are the nature of folk, the nature of versatility, the nature of accumulation, the nature of linear beauty, the nature of common ownership. I have not any intention to assert only these five elements are all generative principles of Korean traditional music. There might be other generative principles in Korean traditional music. Therefore it is required to strive to find other generative principles in Korean traditional music for seeking the roots of it. I would be satisfied if this paper carries out its duty of being a start line of speculative and aesthetic study on Korean traditional music.

박두진 연구 11 : 「야생대」,「하늘까지 닿는 소리」,「빙벽을 깬다」등을 중심으로①

신대철 국민대학교 어문학연구소 1995 語文學論叢 Vol.14 No.-

사이클 선수의 경기력 향상 요인 분석

신대철 한국스포츠리서치 2002 한국 스포츠 리서치 Vol.13 No.2

世宗代 以後 燕山君代의 鄕樂과 唐樂

신대철 한국국악학회 2001 한국음악연구 Vol.29 No.-

Hyangak (native Korean music) and dangak (Koreanized music of Chinese origin) ate given much weight in Korean Court Music. Both genres of music had been performed in Korean Court without interruption from Goryeo Dynasty (高麗, 918~1392) through Joseon Dynasty (朝鮮, 1392~1910). Though they were occasionally performed at several court rites and other ceremonies during this long period, they were mainly performed at court banquets. Quiet a few pieces of those music had been performed at various court banquets and other ceremonies in the Korean Court before 1910, but only a few of them ate left and performed in these days. Why ate only a few of them left and performed today? The reason of it might be said that the chances of performing them have gradually been reduced since the Joseon Dynasty until now. At which court occasions, then, were those pieces of music performed from the Sejong period (1418~1450) through the Yeonsan-gun period (1494~1506). This study has been carried out focused mainly on this matter and shows us many performed examples of them during this short period. Roughly the results of it can be summarized as follows. Though all the pieces of hyangak and dangak in the akji (樂志, musical section) of Goryeosa (高麗 史, History of the Goryeo Dynasty) weren't performed at the Court of Joseon Dynasty during this period, the fact that many pieces of them had been performed at the Court of Joseon Dynasty without interruption should be evaluated highly from the viewpoint of musicology. Especially newly composed pieces of hyangak and dangak as sinak (新樂, new music) by Sejong enriched the Court Music of Joseon Dynasty all the more. Among all the pieces of sinak several pieces of hyangak, which were composed on the basis of old hyangak from Goryeo and gachwiak (鼓吹樂, a kind of Royal processional music), opened a new and unique Court Music of Joseon Dynasty. According to Akhakgwebeom (樂學軌範, Guide to the Study of Court Music and Dance) and Gyeonggukdaejeon (經國大典, National Code), a large number of hyangak and dangak pieces of the Goryeo Dynasty, and those of Sejong's sinak were still performing at various court banquets and ceremonies during the Seongjong period (成宗, 1469~1494). In other words it means that both genres of music were much flourished rather than went into a decline in those days. I have noticed that the uses of hyangak in Sejong's sinak were restricted within narrow limits except for some pieces of them in those days and any performed record on Balsang (發祥, a birth of good omen), which was a hyangak piece of sinak, was not found in any annals and book since a record of it in the Annals of Sejo (世祖, 1455~1468) in 1460. Among the uses of Sejong's sinak the extensive use of Yeominak (與民樂, enjoy with people), Jeongdae-eop (定大業, founding a great dynasty), and Botaepyeong (保太平, maintaining great peace) was a motive to transmit some pieces of Sejong's sinak to the present. Especially Yeominak-man (慢) and Yeominak-ryeong (令) were the most extensively used pieces among all the hyangak of Sejong's sinak. I could not find out any record of using all the dangak pieces which were created before Sejong in the early Joseon Dynasty and that of most Sejong's new dangak pieces after the Sejong period. It means that all these pieces disappeared after the Sejong period. But some of these were still remaining in the Akhakgwebeom not as music but as dangak-jeonjae (呈才, court dance). Between the hyangak and the dangak, especially the uses of former had been regarded more important than those of the latter since the Sejong period. Among 3 hyangak-jeonjae in the akji of Goryeosa only Mue (無?, without difficulty), which was performed at the court of Sejong period, was not recorded in the Akhakgwebeom, but newly choreographed hyangak-jeonjae Botaepyeong, Jeongdae-eop, Bongnaeeui (鳳來儀, ceremony of Chinese phoenix), Hyangbal (響?, sound of small cymbals), and Hakmu (鶴舞, crane dance) in the early Joseon Dynasty enriched the world of hyangak-jeonjae in the Akhakgwebeom. Revived dangak-jeonjae Gokpa (曲破, broken melody) and Yukwbadae (六花隊, a group of six flowers) were added to 5 transmitted dangak-jeonjae from the Garyo Dynasty in this period. Especially 8 pieces of dance music for the Gokpa enlarged the number of dangak pieces in the Akhakgwebeom. But the real number of performed dangak pieces at the court banquets and ceremonies during this period were only a few. Yeonsan-gun regarded music and dance as two tools for his sensual pleasures. He loved Cheoyongmu (處容舞, a kind of mask dance) and the Hakmu of hangak-jeonjae very much. His abnormal affection for both these dances were very serious. But it curiously enough helped a lot to transmit those two dances to the present and we can see an interesting historical paradox in this aspect.