J.S.Bach의 반음계적 환상곡과 푸가(BWV 903)의 연주해석에 대한 연구

김인일 부산대학교 예술대학 2004 藝術論文集 Vol.18 No.-

As we know about, church music on music history is at all time much conservative than secular music. So J.S.Bach's(l685∼1750) music is very traditonal and conservative than the same period other musician as Domenico Scarlatti (1685∼1757), Friedrich Handel (1685∼1759), Antonio Vivaldi(l678∼174l), Georg Philipp Teleman(l681∼1767), because J.S.Bach's composition always from church category and for church formality. But J.S.Bach's some keyboard works like sonata, concerto, toccata, fantasy is much new style at that period, as simple texture for harmonic character, clearness sturucture for music style, and have familiarity with audience of many public groups. In other side, his Chromatic Fantasy and Fugue, BWV 903 has much wonderful ideas for new music style with romantic Emfindsammerstile as chromatic harmonic progress and recitative style. The Fantasia appears to consist of four quite contrasted ideas which at the start are presented in fairly striking two scale line as toccata style, contrast but which, have choral with arpegio throughout the 33 bars, achieve some sort of integration. We can see successively recitative part with chromatic harmonic progressing as free rhythm style, and Coda like section with the slow desending chromatic progression, it is much important as historical evidence for romantic style after one hundered music field in nineteen century. V05020067 The modulation occurs through a modulating sequence. Strangely enough that means that although the harmony in the first group is more adventurous it is actually more stable than this idea. This fugue style is more free formal structure, because he use much episode for cantrast music texture, and using arch form with start fugue and final as heavy thematic material. Although this work have continuity sixteens in the choral with arpeggio, we can see harmonic rhythm clearly, and it's concern to the musical phrasing. J.S.Bach was not only Wonderful gift improvaser but also a careful worker as designer with musical texture.

F. Liszt의 Piano Sonata in B minor의 연주해석에 관한 연구

김인일 부산대학교 예술대학 2003 藝術論文集 Vol.17 No.-

The B minor sonata by Franz Liszt(1811-1886) is one of the mightiest peaks in the literature of the piano. It makes exceptional demands on the listener's attention, partly because of its great length, partly because there is no pause between movements. And there are many technical difficulties of playing piano for this large work. For example who need cubic effect from big complex formatted structure and necessary dynamic power for this huge sonata length with piano technical profundity. So I have a several research point as an angle of vision, what is Liszt s structure in his huge sonata and how playing piano on this sonata on famous pianists recording so on. We may regard the composition as a sonata in one movement with the following general scheme: 1)Statement of thematic material 2)Development, into which the slow section is inserted 3)Recapitulation and coda His functional exploration of new sonata form in nineteenth century come out from Grosse sonata for piano(c.1840) and Arpes une Lecture de Dante from 2^(nd) years of Annees de pelerinage to the sonata in b minor. He make an experiment on sonata form as following structure 1^(st) part, thematic presentation and development 2^(nd) part, slow movement materials 3^(nd) part, another presentation and development 4^(th) part, coda with partly repeat material source from 2^(nd) part I have a analysis in this thesis for formal structure of Liszt sonata form with general view of music text books, William Newman, Louis kentner, Humphrey Searl and Derek Watson, Alfred Brendel, Ates Orga, C1audio Arrau, Alen Walker, Grove music dictionary of Sadie Stanley, R.M.Longyear, Dolores Pesce. So I have a definition formal structure about Liszt's sonata in b minor with 1^(st) part is thematic presentation, development and slow movements materials, 2^(nd) part is first decapitation of fugato and scherzo, and second recapitation of slow movement materials and coda part. We can see about thematic transformation skills on his sonata in b minor with other piano and orchestra works, as triton motive, chromatic scale motive, unstable melodic motive, and musical interval motive and so on. I have a research of performance practice of in this sonata in b minor on Vladimir Horowitz, Alfred Brendel, Nicolai Demidenko, Martha Argerich, Mikhail Pletnev. As result, a much different style on pedaling, dynamics, tempo and tempo rubatos, balance of the voice part dynamics, omaments, and octave figurations with dynamic arpeggio. There are many different point of playing piano style on from nations, men or women, ages, and favorite style of music materials. But we love all pianists playing on this huge sonata because it is not only deep inspiration from last century but work of musical arts and an inheritance of our generation. · This work was supported by Pusan National University Research Grant

단체협약 인준투표조항

김인재(金仁在) 서울대학교 노동법연구회 1993 노동법연구 Vol.- No.3

영국 노동법상 노동조합의 내부관계

김인재(金仁在) 서울대학교 노동법연구회 1994 노동법연구 Vol.- No.4

단체협약의 지역적 구속력을 둘러싼 몇 가지 쟁점

김인만(金仁滿) 서울대학교 노동법연구회 1996 노동법연구 Vol.- No.5

Liszt, Mephisto Waltz, No.Ⅰ의 演奏 解釋에 關한 考察

金仁一 부산대학교 예술대학 1986 藝術論文集 Vol.3 No.-

We know the Franz Lisat as a most important virtuoso pianist and composer of Symphonic poem with thematic transformation and cyclic form in the nineteenth century. His last important orchestral work accomplished at Weimar was made out of the two episodes from Nikolaus Lenau's Faust. Liszt's second episode has been known as the well konwn First Mephisto waltz. The piano version of the First Mephisto Waltz, combined with excitement and sensuality, is a made of the Romentic period, and some of harmonic progression in its quieter middle section anticipate the music of Mysticism. We can see another example of the Program music in the First Mephisto Waltz, and have a stroy of the epic or dramatic feeling through marvellous virtuosic technic of employing the full range of the keybord over measure 800-814, of playing heavy chordal passage over measure 275-298 and of skipping widely by the Thematic Transformation over measure 772-791. We get much idea of the piano playing of the Liszt's First Mephisto Waltz by means of music disc of the contemporary famous pianist's playing such as Lazar Berman, Vladimir Horowitz, Van Cliburn, Jorge Bolet, Earl Wild, David Bar Illan, Vladimir Ashkenazy and France Clidat. There is full dramatic sonority in Vladimir Horowitz's combination of tempo rubato and pedaling, a fast driving skilled technique of the twentieth century by Vladimir Ashkenazy and France Clidat, standardized playing of Listz's piano music by Jorge Bolet and Earl Wild's dynamics, and useful fingering of Vladimir Horowitz and Jorge Bolet at measure 109. We must know sharing with hands the technical elements of scale and the arpeggio line over measure 696 and 814.

Franz Liszt 성장기의 피아노 학습

김인일 부산대 예술대학 1999 藝術論文集 Vol.14 No.-

We need a sample case for genius piano students as an early stage piano educations. Franz Liszt was most famous pianis with a legend, composer, and conductor as throughout music history. His piano studing was very distinctions method and surrounding with musical events from planning object of his father Adam Liszt. It is very similar from Mozart's piano studing in last century but has no likeness with piano praticing method or dealing of Etudes. Franz Liszt has a clear motivations for a virtuoso level pianists, and has much indirection musical events for progress genius piano student. And he has most famous piano teachers like Carl Czerny(1791-1857) and Salieri(1750-1825) as an excellanat teacher of composer. He has much occasion for improvisetions by Czerny, it is very useful method for piano praticing with musical imaginations. So we have new method example for good piano praticing for talented students, that is must to do well controled motivations and clear objections from teachers or musical surroung material. And have to piano studing with actual events like public piano concert or actual concert tarvel like Mozart and Franz Liszt. We have new conception as pianist for next millennium, that is must to do multiple capacity and skillful keyboardist as Baroque musician and Franz Liszt. For well control piano works from base on much musical materials with source of structure, harmonic frame, composers idiom and other cultural events. Genius piano student is very important in our nation and at this decade because it is a paradaim as new pianist type of new era, and for new cultural industry.

새시대 새로운 지도자상을 향해

김인일 세계기독교통일신령협회 2001 統一世界 Vol.- No.8

농업 · 농촌정책 추진방향

김인중(金仁中) 한국농약과학회 2017 한국농약과학회 학술발표대회 논문집 Vol.2017 No.11

공무원 노사관계 발전방안 소고(小考)

김인재(金仁在) 서울대학교 노동법연구회 2008 노동법연구 Vol.0 No.25

The government employees are taken special legal steps in the labor relations and collective bargaining owing to the special characteristics of public service by the Government Employees’ Union Act and the other acts. The their major working conditions should be regulated by the law and regulations and be controlled by the draft budget after due deliberation of the National Assembly or the local assembly. And the government employees unions are complicatedly composed of the type of occupations and organs and the chief of administrative organ has no authority to decide independently the matters of working conditions. Therefore the labor relations and collective bargaining in the government sector should be composed of the dual structure, i.e. the centralized bargaining system and the organic bargaining system prescribed by the Government Employees’ Union Act. The major working conditions of the wages for their services should be decided by the centralized bargaining between the national union and the government, and the peculiar matters of the organ concerned should be decided by the organic bargaining system between the organic union and the organ concerned. For the purposes of the system, the bargaining representatives of unions should be democratically elected among the bargaining unions and the bargaining delegates of government should be composed of the ministers of the personnel and administration, public service and budget affairs concerned. Because the collective agreement related to the matters regulated by the laws and regulations or the budget should be ineffective, the government negotiating delegates should submit the revised bill or budget to the National Assembly or the local assembly within a certain periods so as to fulfill faithfully the matters already agreed upon between the unions and government.