Debussy와 Ravel의 비교 연구

윤보희 이화여자대학교 한국문화연구원 1985 韓國文化硏究院 論叢 Vol.46 No.-

Born in France in the later half of the 19th century, both Debussy and Ravel came into contact with the emerging national music of Russia and Spain and also with non-European music such as Jazz of the black people of America, and Gamelan of Indonesia. Both of them inherited and developed the French movement to advance French musical tradition over against the orthodox European music which was dominated by the Germans from the classical period until the days of Wagner. Both of them entered and studied at Paris Conservatory but did not like the stuffy conservativism of the faculty and searched for something new. They were both in close touch with almost the same impressionist painters and symbolist writers of the day who, with a new way of dealing with reality, exerted tremendous influence on these two people, especially in relation to their compositions on nature, more specifically, Debussy's Reflets dans l'Eau and Ravel's Jeax d'Eau And yet one discovers some differences between the two in terms of their technique and style of composition. Debussy helps one to feel a vague sense of mystery behind the brilliant movements of water and light through description of his "impressions," whereas Ravel helps one to be impressed by the same movements through his meticulous and detailed manipulation of "musical objects" with a clearer outline. Debussy' Reflets dans l'Eau responds with extreme sensitivity to the minutest movements of water and light, and produces the play of sonority in such a way that it helps create a gorgeous world of imagination as well as mystical phantasy. Ravel's Jeux d'Eau demonstrates both technical brilliance and intellectual sophistication. The former, in order to be faithful to the " impressions" of nature, seems to neglect formality, whereas the latter seems to maintain his fidelity to the traditional form while trying to produce new effects by means of the invention of new technical details. In the process, both Debussy and Ravel enjoyed freedom in treatment of dissonance and abrupt juxtaposition of conflicting harmonies. They exploited parallel chords, forbidden consecutive intervals such as 4th, and 5th, 8th and 9th which Ravel particularly favored, church modes, organum-like 4ths and 5ths, pedal points, ostinato, bitonality, added notes and appoggiaturas. Both of them employ various arpeggio figures to depict the motion of water, and the regularity of slower notes to imitate the sound of water dripping. The fact that Debussy relies more on Whole-tone scale, whereas Ravel uses the pentatonic scale exclusively in Jeax d'Eau, tends to give Reflets dans l'Eau a bit of a murky quality. Also Ravel's tendency to exploit the upper register of the keyboard imparts a crystalline aspect to his portrayal of water. Frequent change in tempo is a common feature between the two composers, but it is more so in Debussy who produces a variety of figures and smooth rhythmic flow whereas in Ravel sharp rhythmic figures proceed within a set frame. In usage of repetition and development of motif and phrase it appears more logical and becomes an important element in Ravel, but in Debussy there is merely a simple continued repetition or a repetition with a slight change without any classical idea of motif development. Both Debussy and Ravel, who are called the pioneers of "impressionist" music, lived in France at nearly the same period with almost the same cultural background. And yet one sees certain differences in their musical style and technique as described above. Could one be allowed to trace such differences to the differences both in their family background, in their physical make-up and/or their life style? The answer depends on further comparative study of the two composers from a sociological and psychological perspective.

클라라 슈만 硏究 序說

尹寶姬 이화여자대학교 한국문화연구원 1979 韓國文化硏究院 論叢 Vol.34 No.-

Clara Schumann is little known in Korea except as Robert Schumann's wife and as Johannes Brahms' friend. Therefore, this study can hardly go beyond an introductory character and thus a comprehensive overview including biographical study and interpretation. Clara Schumann was a child prodigy under her fathers rigorous disciplines and developed into a great pianist who could vie with such piano virtuosi as Franz Liszt and Anton Rubinstein. Yet she was a woman. She had her happy moments as a maiden, a devoted wife and o mother. At the same time she had to endure the tragedies of the death of her husband in his most productive age and five children mostly in their prime age, and, as a widow, had to make a living for the remaining children including their education. She overcame such hardships in life through and with music. Her superhuman performing activities can be seen in the number of extant programs which amount to 2,000. What she was as a woman and artist itself was an inspiration both to her husband Robert and to her friend Johanms. Most of the lieder of two composers were written because of and with their feelings, personal as well as artistic, toward Clara. In case of Brahms he submitted most of his compositions as they were written to Clara for review and comments, in the light of which he modified some of them. The friendship between Clara and Brahms, in spite of some negative remarks, was a beautiful one that was created out of their common love of and devotion to Robert and was consummated in music. Clara the pianist took it as her life's calling to make known Robert's music and Brahms' through her performance. With Chopin's works added, she became a musical missionary of the emerging New Romantic Movement. Bach, Beethoven and Mozart also became the major part of her repertoire and programs. She did not compromise with or make adjustment to the tastes of the time but stuck to both the romantic and the classical, and succeeded in making them popular through her mastery of technique, solid interpretation and dynamic-lyric quality of her performance, and thereby advancing the musical culture of the time in terms of quality. She also helped make innovation in piano virtuosity 1) by introducing to Germasny performance by memory 2) and by establishing the tradition of solo recitals whereas the customary way of concertizing was to include the performing assistance of other artists. She has left a voluminous amount of diaries and letters which became a resource for studies not only on herself, Schumann and Brahms but also on other musicians and the musical world of the time.

Fe-Co기 고인성 고강도강의 반복 열처리 거동- Part 1. 조직제어

윤보희 ( Bo Hee Yoon ),박경태 ( Kyoung Tae Park ),이태혁 ( Tae Hyuk Lee ),김재훈 ( Jae Hoon Kim ),김홍규 ( Hong Kyu Kim ),이성 ( Seong Lew ),이종현 ( Jong Hyeon Lee ) 한국주조공학회 2012 한국주조공학회지 Vol.32 No.1

In this study, microstructural evaluation was carried out on secondary hardening type ultrahigh strength steel, Fe-Co-Ni composition. This paper as a first part of whole research presented the microstructural behavior by cyclic heat treatment. The cyclic heat treatment method includes normalizing, stress relieving, solution treatment and aging. Especially, solution treatments performed triple times to get maximized solution hardening. Phase transformation and microstructure were observed by using optical microscope (OM), Electron back-scattered diffraction (EBSD) and X-ray stress analyzer. During the triple solution treatment, size of grain boundary was dramatically decreased by generating a packet from the martensite transformation of residual austenite in the inner part of grain, whereas the hardness increase was not significant.