조형예술의 측면에서 본 윤이상의 주요음(향)작곡

윤신향 한국음악학학회 2004 음악학 Vol.11 No.-

This study tries to investigate the relation between maintone(sound)-composition of Isang Yun and formative arts. The first two chapter summerize the music historical primise for the integrative-artistic aesthetic and the process of establishment of Isang Yuns identity as a composer in europe. Therby it is characteristic, that Yun is interested in the relation between music and pictures, while the western composers in the 1950s deal with graphical music and accidental music: the compositional situation tends to weaken the traditional note system, to expand the traditional instrumental medium, and to dismantle the traditional genre. The third chapter describes the relation between the formative image of west side in the acient tomb mural 'Sasindo', which is an about 1500 years old Korean traditional heritage. The line image of this mural is similar with the line image, which Yun draws in the dialog with the japanese composer Nishimura Akira about his maintone(sound)-model. An archetype of this line image is implemented in the beginning of the piece <flute-etu¨de>(1974) in the first section, and it is transformed in the beginning of the fifth section of the same work. Specially amorphous form ending of the maintone(sound)-model displays in this part an expanded form. The expansion of the amorphous form at the end of the maintone-model occurs also three times in <Re´ak>(1966). It is deduced, that this amorphous part form shaws alike in <Images> as a connecting part of the sound-surface. The last two chapter deal with the means of change the Korean traditional format image to modern sound. Yun saw always the picture of the mural in his living room and emphasized the line image of this picture in the explanations of his work, and draw this form in the air in the introduction of play. This phenomen is interpreted under two aspects: at one hand side, the image depicts the taoistic thouhgt, which Yun himself wont to identify with his work. On the other hand side, the connection of Yun's music with a Korean traditional image shaws the fusion aspect of composer. The formative essence of maintone(sound) based on spatial form. The formative mean is created through tile fusion of the line and colorful images. This aura of an image is consistently and endless open. As a result, his maintone(sound) -composition can be interpret as a try to form of an Asian image in the real space 'modern'.

윤이상의 대관현악곡 「예악(Re´ak)」 (1966) : "제 3의 공간"의 음향언어 Eine Klangsprache "im dritten Raum"

윤신향 민족음악학회 2003 음악과 민족 Vol.26 No.-

Diese Studie analysiert das representative Werk Isang Yuns fuer grosses Orchester: 「Reak」(1966). Die Analyse verbindet die Struktur-Analyse mit der Hoeranalyse der Klanggestalt. Als charakteristisch fuer die Klanggestalt des Stueckes werden folgende Merkmale herausgestellt: der Klang fliesst still und dynamisch, monistisch und heterophon entlang einer Wand-Flaeche in eine Richtung, und hat trotz aller heterophonen Zuege einen ganzheitlichen Charakter. Bei diesem wird stets eine fuer Yun eigentuemliche Spannung geladen. Das zweite Kapitel untersucht die Gestaltungsweisen der je eine Klanggruppe bildenden Instrumentengruppen. finsichtlich der musikalischen Semantlk sind die Konstellationen der Instrumentengruppen bzw. Klangfamilien von wichtiger Bedeutung. Im Laufe des Stueckes veraendem sich d e Klang gestaltender Instrumentengruppe gleichsam vom Kollekven zum Individuellen. Dies verursacht einen Funktionswandel der Einzelinstnunentengruppen: der Wandlungsprozess der koreanischen Mehrklangpeitsche Pakgruppe und Harfengruppe ist hierbei bedeutsam . Das naechste Kapitel analysiert am Beispiel des dntten Teils die bei 「Reak」vollendete Hauptklangtechnik. Das den Hauptklang konstruierende Tonbuendel fis3-gis-(cis2-e)-h bei der Floetengruppe, und h-cis-fis bei der Trompetengruppe bestehen aus einem Bruchteil des meldschen h-Moll-Tonleiter, so dass der Ton h den Charakter eines tonalen Zentnuns hat. Hinsichtlich des klanglichen Merkmals dieses Teils laesst sich es nicht verkennen, dass Yun versucht, den Charakteristik der koreanischen Musikelemente nicht allein n i t der westeuropaischen atonalen Technik zu vermitteln, sondem auch vermittels einer dramatischen Spannung mit der Eigenarten der musikahschen Romantik. Die Kraft des Gesamtklanges, die den Klangfuss dieses Stueckes traegt, liegt in der dynamischen Funktion der Hauptklaenge, die das Klangmaterial veraenderen und erweitem. Weiter wird das Verhaeltnis der Hauptklangkomposition Isang Yuns zur Klangflaechenkomposition Gyorgy Ligetis untersucht. Waehrend bei Ligeti die Einzeltoene nicht als solche wahrgenommen werden, haben Einzeltoene bei Yun eine gestaltbare Bedeutung und beanspruchen eine entsprechende Wahrnehmungsweise. Besonders kennzeichnend 1st die Ausdrucksgeste, mit sich die Hauptklaenge stets praesentieren. Ekachtenswert ist, dass solche Charakteristka normalerweise am Ende einer Phrase bzw. Abschnittes oder eines noch groesseren Teils vorkommen. Das Kemelement der Spannung, das dialektische Zuege und somit Widerspruch beinhaltet, liegt im Konfikt zwischen den Geste und Flaeche, also dem Klangfluss und Gegenstaendhchkeit, der bei der Verknuepfung mit der Klangflaechenkomposition verursacht wird. Das letzte Kapitel untemimmt eine kultursoziologische Interpretation ueber 「Reak」, der die vorangegangene Hoer-Analyse wie aesthetische Betrachtung zugrundeliegen. Zwei Bedeutungen konnten dem Stueck zugeschneben werden: zum einen reflektiert sich in Reak~ die Einwanderergesellschaft der aussereuropaeischen Voelker in der westeuropiaschen Gesellschaft, zum anderen widerspiegelt sich die Aussenseite des Werksystems den Veraendemgsprozess der traditionellen koreanischen Musiktradition. Folglich hat die Klangsprache Yuns ein doppeltes Spannungsverhaeltnis gegenueber der koreanischen wie der westeuropaischen Musiktradition. Der verrnittels der Hauptklangtechruk konstruierende endlose Klangfluss des 「Reak」-Stueckes, dessen eigene Struktur eine Klangflaeche bildet, kontrapunktiert scheinbar die Kollektiv-Emotion der koreanischen Volksgruppe.

만성 알코올중동증의 치료에서 프리달의 임상효과

신윤오,신석철,왕성근,유진호,윤미숙 최신의학사 1992 最新醫學 Vol.35 No.4

The Development of Syntactical Usage of the Numerals 3-10 in Biblical Hebrew

Shin,Seoung-Yun 한국중동학회 2009 韓國 中東 學會 論叢 Vol.30 No.2

The diachronic study on Biblical Hebrew presents a clear cut between the Hebrew of the First Temple period (Classical or Standard Biblical Hebrew) and that of the Second Temple period (Late Biblical Hebrew) One of the subjects in this discipline has been the linguistic phenomenon around the numerical syntax in Late Biblical Hebrew It is clearly observed that there began a new type of syntactical usage in the numerals 3-10 in the writings of the Second Temple period, while one may define a classical type of numerical syntax in the books written before the Exile The subject has been studied since the 2nd half of the 19th century Some German scholars (Gesenius, Herner, Konig) carried out basic but quite detailed studies without much intension of diachronic approach in the subject at the beginning Later Kropat added other aspects in the subject in his study of Chronicles' Hebrew It was Polzin who brought the numerical syntax in light of diachronic development of Late Biblical Hebrew Polzin rejects Kropat's suggestion that the new syntactical usage of numerals is due to Aramaic influence Recently, Weitzman Presents a new interpretation of 'parallel development' which denies both synchronic and diachronic explanations However, there has been a difficulty in this study - deficiency in data analysis There is a practical need to re-check all the relevant numerical examples in the subject And that in why this work was done. The present work limits its examination in syntactical behavior of the numerals 3-10 in Biblical Hebrew of Chronicles It also inquires into the syntactical usage of 3-10 in their Vorlage, ie, in the Biblival Hebrew of the books of Samuel and Kings The comparison between the two corpora is to present cases for the historical shift in the numerical syntax In fact, the result of investigation shows a clear diachronic development in the syntactical usage of the numerals 3-10 in Chronicles.

윤이상의 사회참여 작품 -한 망명작곡가의 자화상

윤신향 ( Shin Hyang Yun ) 민족음악학회 2009 음악과 민족 Vol.38 No.-

Effects of detraining on motor unit potential area, muscle function and physical performance based on CNTF gene polymorphism

( Sang Min Hong ),( Ae Rim Hong ),( Yun A Shin ) 한국운동영양학회 2014 Physical Activity and Nutrition (Phys Act Nutr) Vol.18 No.2

Sang Min Hong, Ae Rim Hong and Yun A Shin. Effects of detraining on motor unit potential area, muscle function and physicalperformance based on CNTF gene polymorphism. JENB., Vol. 18, No. 2, pp.151-160, 2014 [Purpose] The purpose of this studywas to identify the effect of detraining on motor unit potential area (SMUP), muscular function and physical performance, accordingto CNTF gene polymorphism. [Methods] For this study, GG (normal homozygote, n = 8) group and GA + AA (mutation heterozygoteand homozygote, n = 10) group were divided by CNTF gene polymorphism and both groups were performed detraining for 4weeks. The data was analyzed by two-way repeated measures ANOVA for verifying the differences between two groups andinteraction using SPSS(ver. 20.0) statistical program. [Results] The results were as follows. First, changes in body compositionwere measured but there was no significant interaction effect between time and group. Seconds, changes in SMUP were measuredby SEMG. Interaction effect between time and group was found lateral vastus during isokinetic exercise of 180°/sec (p<.05). Third, changes in isokinetic muscle strength of 60°/sec and 180°/sec were measured but there was no significant interaction effect. Fourth, significant statistical differences were not showed changes of sports performance after detraining. [Conclusion] In conclusion, there were no significantly differences between GG and GA + AA group after detraining, therefore, further study will be considereda matter in various its interventions such as serum levels of CNTF and changes in receptors and muscle fiber types. [Keyword]detraining, motor unit potential area, muscular function, physical fitness, CNTF gene polymorphism

치아 맹출전 시행한 기관 삽관이 유치열기에 미치는 영향에 대한 증례보고

신윤경,Hyun, Hong-Keun,김영재,김정욱,장기택,이상훈,김종철,한세현 大韓小兒齒科學會 2008 大韓小兒齒科學會誌 Vol.35 No.3

유치 맹출전에 치조융기에 가해진 외상은 유치의 맹출 지연 및 형태이상,치배의 변위 등을 일으킬 수 있으며 심한 경우 구개의 흠 형성,절치의 결함 및 후천성 구개열 등을 야기할 수 있다. 본 증례는 치아가 맹출하기 전에 수차례의 기관 삽관을 시행한 병력이 있는 심한 저체중아에서 맹출지연,형태이상,법랑질 저형성,영구치 치배 등의 변위가 관찰되어 이를 보고하는 바이다. Delayed eruption and abnormal morphology of the primary incisors following intubation may be due to follicular displacement and localized trauma caused by the process of intubation. Result of such damage included palatal groove formation, defective incisors and acquired clefts. This clinical report presents effect of intubation on the primary dentition of premature low-birth-weight children prior to tooth eruption.

소아정신과 외래환아의 공존질병

신윤오 충남대학교 의과대학 지역사회의학연구소 1994 충남의대잡지 Vol.21 No.2

In view of any systematic study of psychiatric comorbidity among the children and adolescents in this country, the author reviewed 295 child psychiatry outpatients by DSM-III-R at the Chungnam National University Hospital. The results are follows. 1. Two hunred thirteen (72%) patients were male , eighty two(28%) patients were female (male : female = 2.6 : 1). 2. Fourty one percent of cases did not receive any treatments. 3. Twenty eight percent of cases was taken drug and/or play therapy, psychotherapy. 4. Axis I disagnoses were attention deficit hyperactivity disorder(16%), mood disorders (8%), functional enuresis(7%), tic disorders(6%), anxiety disorders(5%), conduct disorder(4%), stereotypy/habit disorders(4%), obsessive compulsive disorder(4%), adjustment disorders(2%), oppositional defiant disorder(2%), stuttering(2%), schizophrenia(2%), organic mental disorders(2%), functional encopresis(1%). Axis II diagnoses were pervasive developmental disorders(26%), mental retardation (19%), specific developmental disorders(3%). 5. Thirty three percent of total patients, eighty three percent of attention deficit hyperactivity disorder, fifty four percent of conduct disorder, fifty eight percent of tic disorders , twenty four percent of pervasive developmental disorders had two or more diagnoses.

정신분열증의 불안과 우울

신윤오 충남대학교 의과대학 지역사회의학연구소 1990 충남의대잡지 Vol.17 No.2

The author applied the self-rating anxiety scale(SAS) and the self-rating depression scale(SDS) devised by Zung to 62 schizophrenic outpatients in order to investigate about anxiety and depression manifest in schizophrenia and tried factor ananlysis using both test scores. 1. In SAS, 4 factors were extracted as palpitation & dizziness, nervousness, embarrassment & dyspnea, and insomnia. 2. In SDS, 5 factors were extracted as diurnal variation & decreased libido, indecisiveness & personal devaluation, depressive affect & psychomotor retardation, sleep disturbance & suicidal rumination, and palpitation.

한 아이의 생후 3년간의 발달에 대한 연구

신윤오 충남대학교 의과대학 지역사회의학연구소 1998 충남의대잡지 Vol.25 No.2

Naturalistic observation in a child has been taken. The observation was begun postnatally, during three years. This infant observation will help for the research in infant psychiatry. Infant observation is valuable in preparing the researcher as observer of behavior, and developmental concepts are learned more easily in studies that provide opportunities for observing normal infants.