드뷔시 피아노 어튀드

장미화 ( Mi Hwa Chang ) 한국피아노학회 2011 피아노음악연구 Vol.5 No.-

An Etude is usually devoted entirely to one of the special problem of instrumental technique, such as scales, arpeggios, octaves, trills, etc.. Whereas etudes are written in the form of a complete piece, finger exercises are short formulas that have to be repeated many times, either on the same pitch or moving through the degrees of the scale. Finger exercises were already known in the early 16th century. Toward the end of the 17th century the Italian toccata became a sort of etude. The originator of the modern etude is Muzio Clementi(1752-1832), whose "Gradus ad Parnassum(1817-1826)" mark the beginning of the enormous literature of the 19th-century etude. Outstanding collections of etudes for the piano were written by Cramer, Czerny, Moscheles. Chopin, in his 27 Etudes(Op. 10, Op. 25, and 3 single pieces), created the concert etude, which is designed not only for study but also for public performance and which combines technical difficulty with high artistic quality. His examples were followed by F. Liszt, A. Scriabin, and C. Debussy(12 Etudes, dedicated to the memory of Chopin, 1915). By the beginning of autumn in 1915, Debussy had finished the Etudes. Writing to his friends, he insisted that these were unprecedented and constituted a new stylistic phase for him. His new-found activity was aided, early in 1915, by work on an edition of Chopin`s piano music: he prepared the etudes for publication, and dedicated his own set to the memory of Chopin. While an evocative title was placed at the end of each of his Preludes, each etude has an unpretentious, functional, pedagogic title, sometimes almost relative to tone. Superficially at least, the etudes of the 1st book are concerned with the dexterity of the fingers, while the titles of the 2nd point either directly or with elegant dissimulation to new challenges, sometimes concerning timbre and sonority. The Etudes have all the characteristics of Debussy`s late, most mature, daring and radical innovative idioms. They are dense with passagework and expressive indications of all kinds: dynamics, touch, forms, and tempo changes. This analytical thesis results in presenting the following characteristics as writings of Debussy`s piano etudes. Harmonic boundaries are pushed to their limits. With many non-harmonic tones, were used augmented or diminished 4th and 5th, the chromatic cross relation, the additional 2nds, the altered chords, chords built on fourths or on fifths and parallels of the 2nds, 4ths, 5ths, triads, even non-harmonic triads. In terms of tonality, these etudes have poly-harmonic structures, multi-tonality and polytonality including two different chords with two different key signatures, etc.. For his main melodies, the chromatic, whole-tone, pentatonic, and even octatonic as well as in diatonic scales are employed in contrast. In regard to rhythm and meter, many features of precedent to the twentieth century were employed: poly-and multi-meter, cross rhythm(polyrhythm), ostinato which sustains a simple rhythmic pattern and hemiolas as well as lots of triplets and combinations of irregular rhythms. It is impossible to summarize the extraordinary range of formal models, and moreover the degree of constant variation and the frequent use of unexpected portions are so pronounced that the resulting impression is often one of a constantly evolving structure. Nevertheless in the form of nos. 4, 5, 6, 8, 11 and 12 an ABA`(ternary form) emerges and constantly varied, and elsewhere the etude simply concludes with an allusive gesture like no. 3. Debussy discovered new sounds differentiated colors that go quickly from the vagueness to the brusque sound like hammer, and numerous further transformation. And he also through a wide range of articulation explored the range of possible piano timbre with different dynamic shadings, registers and levels of sonority, superimposed and juxtaposed so as to evoke a series of different spatial dimensions and changes of tone. Besides, the music of these etudes show us lots of characters of Debussy including treating piano as a percussive instrument by a regularly recurring of chords built on seconds or ostinato rhythmic patterns, doleful tone of melodies, perpetual motions, stylized patterns like waltz, and specially in the 8th etude, the last to be written, he revives the ornaments(agrement) of French harpsichord tradition. Debussy succeeded in creating etudes that not only open up fresh approaches to traditional technical problems but also reflects the demands of both his own music and later twentieth-century keyboard music. He made a great contribution to evolve the "concert" etude as highly musical as were Chopin`s etudes and his 12 etudes constitute the important piano literature in the early twentieth century.

Safflower extract로 염색한 모발의 특성

장미화(Jang Mi Hwa),김일순(Il Sun Kim),오현주(Oh Hyun Ju),최창남(Chang Nam Choi) 한국인체예술학회 2006 한국인체미용예술학회지 Vol.7 No.3

Dyeing properties of natural dye Safflower extract to human hair were studied. The hair samples are 18 years old girl"s virgin hairs which have never been treated with permanent treat or coloring. The hairs were bleached twice with H₂O₂ for each 15 minutes resulting the 6~7 brightness level of Munsell scale, and dyed with Safflower extract at various pHs. The dyeability of Safflower extract showed good at pH4 and decreased with the increase of pH. When the dyed hair was mordanted with Al and Fe salts, the color was changed orange to orange-red. The hair dyed at acidic pH range showed good wash fastness and tensile strength, compared with that at alkaline pH range.

위치기반서비스 구조화 연구 : 사용자 테스크를 중심으로

장미화(Chang Mi Hwa),방슬애(Bang Seul Ye),최효정(Choi Hyo Jeong),서경화(Seo Kyung Hwa),박수아(Pack Soo A),반영환(Pan Young-Hwan),정지홍(Jeung Ji-Hong) 한국디자인학회 2010 한국디자인학회 학술발표대회 논문집 Vol.2010 No.5

미용업 경영자의 인구사회통계학적 특성과 경영관리능력이 경영성과에 미치는 영향

장미화(Mi-Hwa Chang),김기철(Ki-Chul Kim),고경숙(Kyoung-Sook Ko) 한국인체미용예술학회 2019 한국인체미용예술학회지 Vol.20 No.2

The purpose of this study is to investigate the differences in the social characteristics of hair stylists in their ability to manage and to analyze the impact of these factors on their performance. Empirical analysis has shown that there are significant differences in management ability in most of the background characteristics, excluding academic background. Job experience is also a significant variable, as is the case with prior study. And in terms of location, you can see that the average price is higher than that of a residential or university district when you are in a shopping mall. These demographic characteristics can be found to have similar results in financial and non-financial performance. It was found that marketing , fund management and management strategy had a significant effect on management performance in the management management ability, but the information management ability did not significantly affect management performance. These results can be inferred that small businesses and large-sized franchised beauty salons can realize competition of scale based on high capital and technical skills and have synergy in their respective areas, while preferring price competitiveness over technology competitiveness in the workplace of smaller beauty salons and have some limitations in overcoming the costs and risk factors for reflecting the latest trends.

Copper Tripeptide-1를 함유한 퍼머넌트 환원제의 웨이브 효과(1)

장미화 ( Chang Mi-hwa ),유현주 ( Yoo Hyun-ju ),고경숙 ( Ko Kyoung-sook ) 한국미용학회 2020 한국미용학회지 Vol.26 No.1

Virgin hairs were perming with an ammonium thioglycolate reducing agent and the copper tripeptide-1 peptide was added to the ammonium thioglycolic acid reducing agent for perming. The conclusion is as follows. Reducing agent containing copper tripeptide-1 peptide in thioglycolic acid Wave formation, wave persistence, and moisture content were high. However, the surface of the hair showed damage to the cuticle layer in all of the permanent hairs. the surface of the hair permanently perfused with an ammonium thiol glycolate was excited. the surface of the hair permanently added by adding Copper Tripeptide-1 to the ammonium thiol glycolate reducing agent was in an excited state. In the order of the types and amounts of amino acids shown in Virgin Hair, Glutamic acid, Cystine, Arginine, Serine, Proline, Leucine, Threonine, Aspartic acid, Valine, Glycine, Alanine, Isoleucine, Lysine, Tyrosine, Phenylalanine, Histidine, Methionine. After permanent, the total amino acid composition was lower than that of virgin hair, and the hair permanent with thioglycolic acid reducing agent increased cystine amino acids and the relative amount of other amino acids decreased. the addition of copper tripeptide-1 peptide to the permanent wave agent has a positive effect on the hair.

Nicotinoyl Dipeptide-23를 함유한 퍼머넌트 환원제의 웨이브 효과(Ⅰ)

장미화(Mi-Hwa Chang) 한국인체미용예술학회 2021 한국인체미용예술학회지 Vol.22 No.1

This study is to examine the effect of the permanent wave of hair by adding peptide nicotinoyl dipeptide-23 to the ammonium thioglycolate. Reduction agent of ammonium thioglycolate(2%) is used in the health hair. Ammonium thioglycolate(2%) mixed with nicotinoyl dipeptide-23 to make and use a reducing agent. For the damage hair, a permanent wave was performed by manufacturing a reducer mixed with a cysteine(5%) reduction and a nicotinoyl dipeptide-23(5%). Experiments showed that when nicotineyl dipeptide-23 peptide was added to the reducer and permanent wave treatment was performed on the hair, the shape and duration of the wave in the hair was increased and the protein leakage in the hair decreased. These effects were found to be more effective in damage hair than in health. It is considered that the internal structure of the hair is stable and the cuticle layer is hard to penetrate inside the hair through the cuticle layer, and the damage hair is because the chemical structure inside is broken inside and unstable, making it easier for material to penetrate from outside. Also, the surface of hair with the addition of Nicotinoyl Dipeptide-23 was observed calmly and stably, and the touch was also soft and glossy when touched by hand.

아세테이트 나노섬유에 의한 니코틴/타르의 흡착

최창남(Chang Nam Choi),조용준(Yong Jun Cho),장미화(Mi Hwa Chang),조성용(Sung Yong Cho) 한국염색가공학회 2005 韓國染色加工學會誌 Vol.17 No.4

아미드옥심화 PAN 나노섬유 웹의 중금속 흡착 특성

박원규,장미화,양혜연,최창남,Park, Won-Kyu,Jang, Mi-Hwa,Yang, Hye-Youn,Choi, Chang-Nam 한국섬유공학회 2007 한국섬유공학회지 Vol.44 No.6

In order to prepare the heavy metal adsorbent, PAN nano fiber web was prepared by electro spinning and subsequently amidoximated with hydroxyl amine. The diameter of fiber depended on the polymer concentration and the applied voltage. The average diameter increased with an increase of the polymer concentration and decreased with the applied voltage. Both the prepared nano fiber web and PAN fiber for weaving were amidoximated by the reaction of PAN with hydroxylamine. The formation of amidoxime groups was identified by FT-IR spectra and elemental analyses. The degree of amidoximation of PAN nano fiber was increased with increasing temperature. Amidoximated PAN nano fiber web had an excellent adsorption capacity for heavy metal ions, especially $Cu^{+2}$, compared with the amidoximated PAN fiber for weaving due to the relatively large specific surface area.

천연염료에 의한 모발염색에서 용매의 효과(Ⅱ)

최창남(Chang Nam Choi),양혜연(Hye Youn Yang),정남영(Nam Young Jung),임순녀(Sun Nye Lim),이웅의(Woong Eui Lee),장미화(Mi Hwa Jang) 한국염색가공학회 2010 韓國染色加工學會誌 Vol.22 No.2

2016년 TV 드라마 속 중년 여배우의 블로우 드라이 기법을 적용한 앞머리 스타일 제시

최중석(Choi, Joong Seok),장미화(Chang, Mi Hwa) 한국디자인문화학회 2017 한국디자인문화학회지 Vol.23 No.3

대중문화의 급격한 발달은 1990년대 K-드라마를 시작으로 K-POP 스타들이 대중감성을 자극하여 한류 열풍이 대중 사회를 이끄는 계기가 되었다. 대중들은 한국의 아이돌과 드라마 주인공들의 헤어스타일을 닮고 싶어 한다. 그렇게 한국의 연예인을 따라 하던 소녀들이 이제 중년층이 되어 한국의 드라마 속 주인공들을 대상화하고 동일시하고 싶어 할 것이다. 그러므로 2016년 한국 드라마 속 중년 연기자 앞머리 헤어스타일을 분석하여 다양한 스타일 기법을 제시한다. 선행연구에서는 한국 중년 여성의 다양한 앞머리 스타일을 제시하지 못한 채 단순한 기법으로 젊은 여성층에게만 국한했다. 이에 따라 여성의 앞머리 형태에 관한 관련 자료 및 2016년 한국 TV 드라마 속의 등장인물인 중년 여배우의 앞머리 스타일을 선정하여 재해석하고 분류하였다. 본 연구를 수행하기 위해 동일한 여러 개의 마네킹을 같은 조건으로 앞이마를 제외한 두발 전체를 미듐그래쥬에이션으로 자른 후, 블로우 드라이 기법을 적용한 다양한 앞머리 스타일을 12가지 형태로 작품화 하였다. 앞머리 스타일의 작품명은 2016년 한국 TV드라마 속의 배역 이름을 작품명으로 하였다. 그리고 앞머리 스타일 연출에 관한 연구 영역을 확대하고자 블로우 드라이의 전개과정 및 모류의 흐름에 따른 방향성을 도해도로 분석하여 작품화하였다. 작품화한 결과 Table 1.은 당당하고 카리스마 넘치는 앞머리 스타일은 일자형으로 깔끔하고 단정하게 작품화하였다. Table 2.는 얼굴형이 작고 어려 보이는 라운드 형태의 앞머리로 귀엽게 작품화하였다. Table 3.은 우아하고 기품 있어 보이게 앞머리 스타일은 세련되고 자연스럽게 작품화하였다. Table 4.는 차분하고 우아한 이미지로 앞머리 스타일은 도시적인 느낌을 주고자 가르마를 주어 작품화하였다. Table 5.은 앞머리 스타일은 청순하면서 여성스러운 이미지로 작품화하였다. Table 6.은 앞머리 스타일은 우아하면서 밝아 보이게 이마를 개방하여 작품화하였다. Table 7.은 정장차림과 잘 어울리도록 앞머리 스타일은 얼굴 이마가 좌측에 살짝 가려지게 작품화하였다. Table 8.은 활동적이며 당찬 이미지를 앞머리 스타일로 넓은 이마를 보완하며 풍성한 볼륨감의 S웨이브 리지 형태로 작품화하였다. Table 9.는 당당하고 카리스마가 넘치는 기업의 대표 이미지로 앞머리 스타일은 고상하면서도 도시적이고 매력적인 여성으로 작품화하였다. Table 10.은 개방적이고 자유분방한 이미지를 주기 위해 앞머리 스타일은 컬이 뻗치는 발랄하면서 활동적이고 열정적인 여성으로 작품화하였다. Table 11.은 적극적이고 긍정적인 이미지를 주기 위해 앞머리 형태는 웨이브를 주어 발랄하고 상큼하게 귀여워 보이는 여성으로 작품화하였다. Table 12.는 활동적이며 매혹적이고 깔끔하면서 도도한 당찬 엄마의 이미지를 주기 위해 앞머리 스타일은 이마가 드러나도록 작품화하였다. 본 연구는 TV 드라마 속 중년 여배우의 앞머리 스타일 분석을 통하여 한국 중년 여성에게도 적용할 수 있는 스타일 기법을 제시하였으며 또한 앞으로 체계적인 교육 자료로 활용되기 바라며 미용 산업현장에 기여하기를 바란다. Rapid development of pop culture led to Korean Wave, starting with the 1990s K-Drama and, later, K-Pop. The fans wants to imitate the hairstyles of Korean pop stars and actors. Some of them have grown into middle age and, now, identify with and copy the stars they see in Korean dramas. This study proposed various hair styling techniques by analyzing fringe hairstyles of the mid-aged actors in 2016 Korean TV dramas. The previous study was limited to young women and simple techniques, without proposing various fringe hairstyles of mid-aged Korean women. Therefore, in this study, based on relevant data and fringe hairstyles found in mid-aged actresses in Korean TV dramas in 2016, fringe hairstyles for mid-aged women were selected, reinterpreted, and categorized. In this study, using several identical mannequins, the overall hair except the forehead area was cut in medium graduation, and then, by applying blow-dry techniques, 12 different fringe hairstyles were created. Then, the hairstyles were named after the character of the relevant TV drama. In addition, in order to expand the research on fringe hairstyles, this study presented diagrams of the blow dry process and direction according to the hair stream. In the results, Table 1 shows neat, straight fringe hairstyle for confident and charismatic look. Table 2 shows a cute, round-shaped fringe that make the face look smaller and younger. Table 3 is a sophisticated and natural fringe hairstyle for elegant and classic look. Table 4 is an elegant and calm fringe hairstyle that was created by parting the hair in order to produce urban look. Table 5 shows a fringe hairstyle for a feminine and innocent look. Table 6 shows a fringe hairstyle for an elegant and outgoing look created by revealing the forehead. Table 7 shows the hairstyle that is suitable for suits, created by slightly covering the left side of the forehead. Table 8 shows a hairstyle based on S-wave that complements a large forehead with rich volume, in order to create an active and confident look. Table 9 is a hairstyle created for a self-assured and charismatic CEO image, with sophisticated and attractive image. Table 10 shows a fringe hairstyle for active and passionate woman created by outwardlycurled fringe that produces an open and free-spirited image. Table 11 is a fringe hairstyle for a cute and bubbly image, created by a wavy fringe. Table 12 shows a fringe hairstyle that creates an active, neat, and confident mother’s image by revealing the forehead. This study analyzed fringe hairstyles of mid-aged actresses in TV dramas and proposed styling techniques that can be applied to mid-aged Korean women. I hope this study can provide data for systematic hairstyle education and contribute to the beauty industry in the future.