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신인선 민족음악학회 2004 음악과 민족 Vol.28 No.-
Isang Yun(1917-1995) ist bekannt als ein Komponist des 20. Jahrhunderts, der seine eigene Musikwelt in Europa gefunden hat. Er hat u¨ber 100 Werke komponiert, in denen Ostasiatisches mit Westeuropa¨ischem, internationale Moderne mit nationaler Tradition veschmolzen erscheinen, und von diesem Kompositionsstil wurden viele ju¨ngere Komponisten beeinfluβt. Ihnen war es aber von Anfang an evident, daβ die Schaffensart diesel repra¨sentativen Komponists der Avantgarde und Postmoderne von der zeitgeno¨ssischen koreanischen Komponisten zu unterscheiden ist. Nun kann man in einigen Kompositionen und Artikeln, die Yun relativ fru¨h vero¨ffentlichte, seinen aktiven und logischen Gedanken u¨ber die abendla¨ndische sowie koreanische traditionelle Musik erkennen. In der vorliegenden Studie wurde ein Lied "Gopungeuisang" als Yuns Fru¨hwerk eingehend analysiert und mit seinen underen Liedern verglichen. Er versuchte in diesem Lied ein neues koreanisches harmonisches System zu entwickeln und gleichzeitig fu¨r eine traditionelle Darstellung 'Sigimsae', 'Melodie' und 'Rhythm' aktiv aufzunehmen. Yun hat in seinen Liedern sowohl koreanische, als auch westeuropa¨ische Elemente verwendet, die durch ihre Wechselwirkung den Ho¨rer erleichtert, die Musik zu verstehen. Wenn man betrachtet, wie die Skala und Harmonie in seinen Liedern verwendet werden, erkennt man die Tatsache, daβ das Lied 'Brief' europa¨ischer ist als 'Gopungeuisang' und 'Chucheon'. In den Melodien von 'Brief' sind aber viele 'Sigimsae' zu finden. So stellt man fest, daβ dieses Lied mehr volkstumliche Gefu¨hle in sich hat als tonale und liedma¨βige Charaktere. In einem Stuck von 3/4-Takt kann der Rhythmus 'punktiertes Viertel-Achtel-Viertel' die traditionelle Rhythmik vertreten. Aber dieser Rhythmus ist in 'Dalmuri' und 'Chungmuga' kaum zu sehen. Die Lieder von Yun zeigen oft vielfa¨ltige tonale Charaktere wie zum Beispiel 'Dalmuri', in dem eine besondere Art von 'Sigimsae' verwendet wurde, oder vielfa¨ltige harmonische Darstelleungen wie 'Chungmuga'. Diese Beispiele fu¨hren zum Schluβ, daβ in Liedern von Yun die 'Sigimsae', die Melodiefu¨hrung und die Harmonik bei der Darstellung der koreanischen traditionellen Musik noch gro¨βere Bedeutung hat als der Rhythmus.
신인선 연세대학교 음악연구소 2014 음악이론포럼 Vol.21 No.-
This study focuses on an analysis of the Song cycle Reisebuch aus den österreichischen Alpen(op.62) by Ernst Křenek(1900-1991). When Křenek composed this Song cycle in 1929, the Orchersterlied had become a main genre in the 20th concert program and since Pierrot lunaire, Lied accompanied by a chamber ensemble elevated its position high in vocal music creation. Therefore, the conventional 19th century art song with piano accompaniment tradition had not continued into the 20th century. Křenek completed 31 art songs in his life. And this means a lot in the history of 20th century art song. Another fact that Křenek was of great importance in the history of 20th century art song is that he composed five Song cycles. Among these, four are based on his own poem, and the other one is Reisebuch aus den österreichischen Alpen. Composing Song cycle on his own poem verify the fact that Křenek was a person of a literary turn of mind and he faithfully followed the Song cycle tradition of the 19th century in purpose of unfolding a story based on one theme. Křenek’s Reisebuch aus den österreichischen Alpen consists of 20 pieces(19 songs and an Epilog added later) and is modeled on Wienterreise by F. Schubert. The Romantic inclination appeared in this Song cycle is the use of consistent rhythmic pattern in the song number eight ‘Unser Wein’, the pattern also favored by Schubert’s piano pieces. As Schubert described disenchantment of love in hisWienterreise, the fact that Křenek depicted his own hapless love for his homeland in this Song cycle is also considered to be a reflection of Romantic tendency. Křenek recapitulated the theme of the first song in the song number nineteen ‘Heimkehr’ and this is compared to the construction of Schumann’s Song cycle Frauenliebe und -leben. There are several factors in this Song cycle that continued the 19th century art song tradition, musical aspects of the cycle contain various contents of the 20th century. Twenty songs can be divided into two categories according to musical language: songs in Romantic musical languages are song number one ‘Motiv’, number seven ‘Regentatg’, number eight ‘Unser Wein’; songs in Expressionism musical languages are song number eleven ‘Alpenbewohner’, number twelve ‘Politik’. There are songs with text simply describing apparent impressions of journey such as song number two ‘Verkehr’, number three ‘Kloster in den Alpen’, and number six ‘Friedhof im Gebirgsdorf’. But those which put psychological, moral, social, and political contents into text are song number five ‘Traurige Stunde’, number nine ‘Rückblick’ and number twelve ‘Politik’. The close relationship between text and musical languages are conformed through the analyses.
제 7차 수학 교육과정에 따른 수학과 문제 중심 학습 자료 개발 연구
신인선,권점례 한국수학교육학회 2003 수학교육 Vol.42 No.3
Problem-centered learning has many implications on teaching and learning mathematics. Students devise their solutions to solve problems and participate in the discussion with teacher and other students to share and justify their solution during the problem-centered learning. Therefore, we purposed to provide problem-centered learning materials to be able to use in teaching and learning the 7th mathematics curriculum in this study. First, we reviewed the 7th curriculum and its textbooks to know what and how students learn and suggested the problem-centered learning as a teaching method to perform the 7th curriculum. Next, we developed the problem-centered learning materials for 6th grade in elementary school and taught students with these materials to amend errors. Finally, we developed evaluation criteria to evaluate students while they learned mathematics in the problem-centered learning.