입상의 이산화티타늄 박막을 이용한 수소센서

송혜진,오동훈,정진연,웬득화,조유석,김도진,Song, Hye-Jin,Oh, Dong-Hoon,Jung, Jin-Yeun,Nguyen, Duc Hoa,Cho, You-Suk,Kim, Do-Jin 한국재료학회 2009 한국재료학회지 Vol.19 No.6

Titanium dioxide thin films were fabricated as hydrogen sensors and its sensing properties were tested. The titanium was deposited on a $SiO_2$/Si substrate by the DC magnetron sputtering method and was oxidized at an optimized temperature of $850^{\circ}C$ in air. The titanium film originally had smooth surface morphology, but the film agglomerated to nano-size grains when the temperature reached oxidation temperature where it formed titanium oxide with a rutile structure. The oxide thin film formed by grains of tens of nanometers size also showed many short cracks and voids between the grains. The response to 1% hydrogen gas was ${\sim}2{\times}10^6$ at the optimum sensing temperature of $200^{\circ}C$, and ${\sim}10^3$ at room temperature. This extremely high sensitivity of the thin film to hydrogen was due partly to the porous structure of the nano-sized sensing particles. Other sensor properties were also examined.

세종의 음악 정치 목적과 방법 고찰

송혜진 ( Hye Jin Song ) 한국동양예술학회 2012 동양예술 Vol.20 No.-

In politics, music has been exploited as one method used to govern a country. In the ancient document, Akki, Ye-ak (the formal practice of human ethics and music) is defined as the root ideology used to govern the country, and politics can be comprehended by the understanding of music. Based on various examples related to the exploitation of music in politics in the history of Western society, the notion that music is political whether fair or foul has been current for a long time in western society as well. Therefore, the relation between music and politics is surely very close. If we look at aspects of music based on a political view, some music takes on the role of propaganda while other music is prohibited. Also, some musicians use their music to praise somebody or something while others use their music to oppose. Music is a language of emotion. It induces and releases the emotion of human beings. At the same time, it also purifies and encourages people``s emotion, and delivers a message. The characteristics of music as a language of emotion have been recognized from ancient times. Therefore, during the Joseon dynasty, the state assorted music into several various kinds such as music that should be promulgated and distributed, and music that should be rejected. It was regarded as an important matter that the leader of the state understood ``healthy music``, ``music that is suitable for education``, and ``correct music``, and thus guided the people to the realm of ``correct music``. From the early Joseon dynasty, Ye-ak (thought based on Confucianism) was regarded as the basic ideology of society. The realization of politics with human ethics and music was a significant issue since the early years of the dynasty. Therefore, in this period, the organizing and institutionalization of the state``s ceremonial music based on this ideology was a matter of great concern. In particular, during the reign of King Sejong, the degree and extent of effort aimed at achieving this end reached a high point. In this paper, I have re-examined various achievements related to music during the reign of King Sejong based on a political point of view. Sejong was well equipped in this regard, since he had learned about the theory of music and was able to enjoy music in his daily life. With this background, he organized court music, created new musical pieces, and used these pieces in various court ceremonies and parties. There were three purposes for this. First, it was to maintain the Ye-ak concept that is possible to distinguish between the high and the low but at the same time to create harmony between them. The second purpose was to promote accord and good rapport between the high and the low people throughout times of prosperity. The third was to clearly define the justification and legitimacy of the state``s foundation. Numerous songs were created, and performance forms mixing song and dance were selected to express ``stories`` of the songs`` texts in synesthetic metaphor. Such presentations were stylized, and high levels of performances were accomplished with appropriate costumes, accessories and movements. Although Aak, which had been introduced from China and influenced by its music, was used in court music during his time, several elements from native Korean traditional music were also adopted based on Sejong``s understanding that the language and music must be different according to people, geography, tendencies, and natural characteristics. A new system of dissemination was established, and several new score books were published to promulgate achievements. However, no enforced propaganda was carried out. Music and dance related to Buddhism and Shamanism were restricted, and this was justified on the grounds that the state``s custom had to be guided in a correct direction. Also, entertainment merely for pleasure and enjoyment was prohibited. However, enforcement progressed gradually, and several regulations were postponed, and so national control never reached a level of oppression or dictatorship. Such achievements related to the exploitation of music in politics were well evaluated during this time. It was also deemed that the Korean Ye-ak culture was well established, and conducted just as well in Korea as in China, such that it was often compared to the ideal level of the Chu state of China when the Ye-ak ideology had reached its climax. In addition, Sejong has been recognized, even up to now, as a good and wise king who governed the people very well using Ye-ak thought and culture.

가상화폐를 이용한 자금세탁 도구화에 관한 연구

송혜진,Song, Hye Jin 한국재난정보학회 2021 한국재난정보학회 논문집 Vol.17 No.3

연구목적: 본 연구의 목적은 가상화폐를 통한 범죄수익금의 자금세탁 경로를 범죄스크립트 분석을 이용하여 살펴보고, 이에 대한 형사사법기관의 예방 및 대책 방안을 강구하기 위함이다. 연구방법: 자금세탁을 통한 가상화폐의 수익 경로에 대하여 선행연구 조사결과와 우리나라에서 발생된 범죄사례 등을 바탕으로 범죄스크립트 기법을 활용하여 자금세탁 경로를 분석하였다. 연구결과: 자금세탁을 한 가상화폐 대부분이 범죄수익금으로 전환되고, 이 수익금은 다시 세탁되어 현금화 되거나 범죄자금으로 쓰이는 악순환이 발생되는 특징을 가지고 있다. 이에 스크립트를 통해 본 결과 자금세탁의 경로는 익명성을 이용한 가상화폐거래소에서 주로 범죄수익금으로 전환되고 있으며, 이 경로를 여러 번 반복되기 때문에 가상화폐소를 이용하여 세탁되어진 자금을 형사사법기관 등에서 찾는 것이 매우 어려운 것으로 파악되었다. 결론: 가상화폐를 이용한 자금세탁의 방법이 교묘화 되어가고 있어 이에 따른 흐름을 파악한 뒤 자금세탁에 대한 가상화폐 거래금지 또는 몰수에 따른 강력한 처벌과 피해를 예방할 수 있는 제도적 보완장치가 마련되어야 할 것이다. Purpose: The purpose of this study is to examine the path of money laundering of criminal proceeds through cryptocurrency using criminal script analysis and to devise measures to prevent and prevent criminal justice agencies from doing so. Method: Based on the results of a prior study on the profit path of cryptocurrency through money laundering and criminal cases in Korea, the path of money laundering was analyzed using criminal script techniques. Result: Most of the cryptocurrencies that have been launched are converted into criminal proceeds, which are re-launched and cashed or have a vicious cycle of being used as criminal funds are used. According to the script, the route of money laundering is mainly converted to criminal proceeds from cryptocurrency exchanges using anonymity, which is repeated several times, making it very difficult to find the money using cryptocurrency in criminal justice institutions. Conclusion: As the method of money laundering using cryptocurrency is becoming more sophisticated, legal sanctions and preventive institutionalization should be prepared for the prohibition or confiscation of cryptocurrency transactions for money laundering after understanding the flow.

가야금 기초연습 체계와 연습곡 연구

송혜진 ( Hye Jin Song ) 한국동양예술학회 2011 동양예술 Vol.16 No.-

This study is on the methodology for developing rational and basic disciplinary system and etudes for the gayageum, which enables students to comprehensively learn the educational contents essentially required for all beginners in the instrument. In 2002, in another paper entitled, Basic research for establishing theoretical system for teaching and learning gayageum, I have already suggested various issues that spring from teaching gayageum, strongly advocating for sequential research on the topic. Ever since, I have continued pursuing this issue with students of gayageum, through questionnaires and interviews focusing on their learning experience, to learn if they need a special course according to individual performance level, and whether developing creative teaching methodology based on step-by-step learning and systematic etudes is necessary for their learning. Therefore, in this study, I have suggested learning system and methods for developing etudes for the 12 and 25-stringed gayageum, based on the result of my compiling of basic disciplinary works for the gayageum and its application on the students for 12 weeks. This paper first looks at what is considered important in most textbooks for teaching he piano, violin, and guitar, followed by an intensive analysis of the teaching manuals for gayageum currently used in both North and South Koreas. Then it suggests 4 types of systems as methodology for establishing systematic teaching for the basic disciplinary etudes for the 12 and 25 stringed gayageums respectively. First, the essential constructive elements necessary for basic disciplinary system of gayageum is categorized into basic learning process and its application. Based on the premises that creative and multiple application system and related etudes must be developed, I have suggested, for the 12 stringed gayageum, ``disciplinary system and etudes for learning program note forms`` and, for the 25-stringed gayageum, ``disciplinary system and etudes for learning to play chords.`` I have decided also that it is more efficient to presuppose different learning levels for teaching gayageum, for each of which various systems for learning are provided with appropriate musical examples accordingly; ``simple melodic forms for learning different techniques,`` ``training your fingers`` ``etudes`` and ``stage pieces.`` In ``Simple melodic forms for learning different techniques, special care is given to learning to read scores and symbols, as well as training to make sound and different tone colors. This is supported with tips for learning lower and higher technical levels, as well as practice methods for correcting your techniques and for learning various musical expressions. Etudes are partial arrangements of established musical pieces to suit gayageum performance. The subjects for the pieces were chosen based in the consideration that this is for basic learning and that it should promote the deepening of musical abilities required for playing traditional pieces. Therefore, the etudes include mostly folk songs, but for the 25 stringed gayageum, I have included newly composed children``s songs for the basic level and folk songs of other culture and popular tunes for the application level. The resulting 30-70 etudes, categorized into different practice levels, were tested through actual application, which yielded the following conclusions. 1) It allows a step-by-step learning, by altering the level of etudes according to one``s present abilities. 2) For each technique, four levels of difficulty are provided; ①basic melodic forms ② its application ③ etude ④ musical piece. Such format allows a more efficient learning compared to other currently practiced textbooks. 3) Experiencing and learning various musical pieces and rhythmic forms through etudes and musical pieces, learning musical features of local folk songs and their unique musical expressions, and playing with a special attention to expressive symbols. 4) Each section is not too extensive, designed in order to motivated students to keep going without slackening their energy. I have no doubt that such study as this, of the disciplinary system and etude for the instrument, has already been formulated in the minds of most textbook designers and teachers of gayageum. However, there was no sufficient discussions on what kind of system would be most appropriate, which leads to mere duplication of current teaching materials. Therefore, it is required a more logical approach and open discussions on the disciplinary system and methodology for teaching and learning gayageum.

각질형성세포에서 왕불유행 헥산 분획물이 Laminin-332 발현에 미치는 효과

송혜진 ( Hye Jin Song ),김미선 ( Mi-sun Kim ),이홍구 ( Hong Gu Lee ),진무현 ( Mu Hyun Jin ),이상화 ( Sang Hwa Lee ) 대한화장품학회 2016 대한화장품학회지 Vol.42 No.2

피부 기저막(basement membrane, BM)이란 표피와 진피 사이에 존재하는 특별한 구조물로 표피와 진피를 단단히 고정시켜 피부 구조를 유지하는 데에 중요한 역할을 수행한다. 노화 및 자외선 노출에 의한 피부 기저막의 구조적 변화와 파괴는 피부 주름 형성과 탄력 저하를 포함하는 피부노화 현상의 요인으로 여겨지고 있다. Laminin-332 (LN-332)는 피부 기저막을 구성하는 주성분으로 피부에서 표피와 진피를 단단히 고정시키는데 중요한 역할을 한다. 본 연구에서는 왕불유행 헥산 분획물(Melandrium firmum hexane fraction, MFHF)이 각질형성세포에서 LN-332 발현에 미치는 효과를 확인하였다. 정량적 real-time PCR (RT-PCR)과 단백질 발현 분석을 통해서 MFHF가 LN-332의 mRNA 발현 및 단백질 발현을 촉진시키는 것을 확인하였다. 또한 MFHF가 어떤 신호전달 경로를 통해 LN-332 발현을 조절하는지 확인하기 위하여 p38 MAPK 억제제인 SB202190과 ERK1/2 억제제인 U0126을 처리한 결과, p38 MAPK 억제제에 의해서 LN-332 발현이 완벽히 억제됨을 확인하였다. 또한, 피부 기저막을 구성하고 있는 콜라겐 타입 VII과 integrin α6의 mRNA 발현 역시 MFHF에 의해 증가하는 것을 확인하였다. 우리는 본 연구를 통해 MFHF가 각질형성세포에 작용하여 피부 기저막을 구성하는 성분들의 생성을 촉진할 수 있는 소재로 작용할 수 있다는 것을 확인하였다. 이러한 결과는 기저막의 구조적, 기능적 이상에 의해 나타나는 피부노화 현상의 개선을 위해 활용할 수 있을 것이라 제안한다. Skin basement membrane (BM) is a specialized structure that binds dermis and epidermis of the skin and plays an important role in maintaining skin structure. Structural change and destruction of BM is reported to appear due to UV exposure and aging, which may contribute to skin aging including wrinkle formation and a decrease in elasticity of the skin. One of the key components of the BM is laminin-332 (LN-332), and is a major contributor to epidermal- dermal attachment. In this study, we elucidated the effects of Meladrium firmum hexane fraction (MFHF) on LN-332 expression in HaCaT, a human keratinocyte cell line. Quantitative real-time PCR (RT-PCR) and immunoblot analysis revealed that MFHF induced upregulation of LN-332 gene and protein expression. Next, cells were treated with p38 MAPK inhibitor (SB202190) prior to MFHF treatment to analyze the signaling pathway contributing to LN-332 expression. The mRNA and protein levels of LN-332 expression were suppressed completely by pretreatment with p38 MAPK inhibitor. Furthermore, MFHF also increased the mRNA level of collagen type VII and integrin α6 of skin BM component. These results collectively suggest that MFHF may have potential as an effective agent to stimulate the synthesis of BM components, and could be used to improve phenomenon of skin aging ascribed to the structural and functional impairments of BM in aged human skin.

국경을 넘는 소비자계약을 위한 소비자 · 사업자개념의 통일적 정의

송혜진(Song, Hye-Jin) 동아대학교 법학연구소 2017 東亞法學 Vol.- No.76

소비자계약이란 소비자와 사업자간의 계약을 의미한다. 소비자계약에서 소비자를 보호하기 위해서 선행되어야 할 것은 보호를 받을 소비자의 개념을 정의하는 것이다. 그와 대응하여 소비자계약의 일방 당사자인 사업자개념 역시 확정되어야 할 것이다. 두 개념을 정립하였을 때 소비자계약에서 보호받는 소비자 범위를 정확하게 규정할 수 있게 되는 것이다. 우리 민법에서는 소비자계약을 명문으로 규정하고 있지 않고, 각종 소비자법에서 소비자 · 사업자개념을 정의하고 있다. 즉 소비자기본법, 표시광고법, 방문판매법, 전자상거래법, 할부거래법, 약관규제법 등에서 소비자계약을 전제하고 있다. 각국은 자국의 상황에 맞는 소비자․사업자개념을 정립하였으며, 국경을 넘는 계약에서의 소비자보호를 위하여 국제계약법(CISG, PICC, PECL, DCFR 등), EU지침 등은 소비자 범위를 직 · 간접적으로 확정해왔다. 이와 관련하여 공통참조기준초안(DCFR)에서는 국제계약법 중 처음으로 소비자매매계약을 명시적으로 규정함으로써 소비자 · 사업자개념을 정의 내렸다. 소비자․사업자 정의는 대체적으로 일치한다고 볼 수도 있지만, 상이한 점 역시 존재한다. 국제계약법 · EU지침 · 유럽 각국의 입법례(이하 국제계약법 등)에서의 소비자 · 사업자개념의 비교분석을 통하여 우리 소비자법에 3가지 시사점을 준다. 먼저 소비자 범위 확장에 있어서도 국제계약법 등은 법적 안정성 확보라는 측면에서 소비자는 자연인에 한하며, 원칙적으로 법인을 소비자 범위에서 배제하고 있다. 그러나 우리 소비자법에서는 소비목적을 중시하여 소비자를 규정함으로써 소비목적을 가진 법인의 경우 소비자 범위에 포괄적으로 포함시키고 있다. 뿐만 아니라 정책적 의미의 소비자를 인정함으로써 생산목적을 가진 경우라도 일정한 요건 하에서 법인 등을 소비자로서 보호하고 있다. 다음으로 소비자․사업자개념을 적극적 방식으로 정의할 것인가 또는 소극적 방식으로 정의할 것인가 하는 것이다. 마지막으로 혼합목적의 경우(소비목적과 소비목적 이외의 목적의 혼재의 경우)가 문제된다. 국제계약법 등에서는 소비자인지의 여부는 주된 목적을 기준으로 판단하고, 사업자인지의 여부는 부분적으로라도 영업목적 등으로 행위하는 경우 사업자로 판단한다. 우리 소비자법에서는 혼합목적에 관한 명문의 규정이 없다. 다수의 개별소비자법에서 소비자 · 사업자개념이 흩어져서 규정되어 있어, 우리 소비자법의 통일화 작업은 시급하다 할 것이다. 소비자 · 사업자개념의 체계적 통일화를 위하여 국제계약법 등의 규정을 참조하여 국경을 넘는 소비자계약에 대비하는 자세가 필요할 것이다. A Consumer contract is a contract between a consumer and a business. To protect consumer in the consumer contract, it has to be preceded about definition to the concept of consumers to be protected. In response, the concept of a business, one party of a consumer contract, should also be established. For consumer protection, International Contract Laws(CISG, PICC, PECL, DCFR etc.), EU Directives and the laws of the European countries(hereinafter International Contract Laws etc.) have established the concept of consumer and business. The aim of this study is to find out the characteristics of definition of a consumer and a business in International Contract Laws etc. and to comparatively analyze them Korean consumer law. The result of this study is like this: there are three differences in the definition of the concept of a consumer and a business between International Contract Laws etc. und Korean consumer law. First, in International Contract Laws etc., a consumer is only natural person while in Korean consumer law can be legal person. Korean consumer law contain special protection for small business and similar enterprises. Second, in International Contract Laws etc., a “consumer” means any natural person who is acting primarily for purposes which are not related to his or her trade, business or profession(negative definition). However, in Korean consumer law, a consumer means those who use the goods and services provided by business for their daily lives as consumers or for their production activities(positive definition), who are designated by Presidential Decree(the comsumer of the politic meaning). Third, in some cases the natural or legal person could be acting both within and outside a trade, business or profession. In such cases, International Contract Laws etc. determein whether a consumer or a business is based on the primary purpose. But in Korean consumer law, there is no standard rule for mixed cases. A comparative legal review with International Contract Laws etc. is useful for the Uniform definition of the Concept of the Consumer and the Business for Cross-border consumer contracts. The harmonization with International Contract Laws etc. should strive for a higher level of consumer protection.

『세조실록』 圓丘 《新製 雅樂譜》의 연원에 대한 고찰

송혜진(Song Hye jin)(宋惠眞) 국립국악원 1995 국악원논문집 Vol.7 No.-

This paper explores the Sinje Aakpo 新製雅樂譜 [New Ritual Music Scorel) for the Won gu 圓丘 [Heavenly Spirits) in the Annals of King Sejo(1455-1468). The Origin of this score has been questioned by the editor of Taeak-hubo 大樂後譜 [Scores of Great Music : Later Edition] (1759), and has not yet been studied until now. My analysis compares this score to those from Sung, Yüan, and Ming China and reveals their differences as follows. The the Sinje Aakpo melody performed only between the Third and Tenth year King Sejo(l457-1464) is unlike the other Korean Aak melodies, making us believe that it originates from another source, rather than Ta-ch eng yüeh-p u 大成樂譜 [Collection of Ta-ch eng Music) written by Lin yü 林宇, This score differs from the traditional Aak Notations in that it does not indicate the orchestration of each order; it fails to follow the Principle of Yin-yang Harmonic Sound, using only the key of F in the Tangsang 堂上 Terrace of the shrine building and the Tangha 堂下 Chortyard; and melody and text follow the four syllables, eight lines format; and finally, it lacks titles of the pieces in its text. The Annals refer to the differences shown above as characteristics similar to that of Ming Dynasty. However, my analysis reveals that these differences are related to that of Yüan and Sung Dynasties, not Ming. Thus New Ritual Music Score for the Heavenly Spirits is a significance source that should be further studied.

세종대 동아시아 예악론의 인식 양상과 의례음악 정비

송혜진(Song, Hye-jin) 고려대학교세종캠퍼스 한국학연구소 2014 한국학연구 Vol.51 No.-

본 연구에서는 세종대의 국가 음악 정비 과정에서 노정된 동아시아 예악에 대한 인식을 주요 쟁점별로 정리하고 이를 세종대에 간행된 악보를 통해 재검토하였다. 세종대에는 국가 의례음악 정비과정에서 예악의 불균형, 예악 전거(典據)의 선별과 습용(襲用) 범위, 아악전용과 향악겸용 문제, 조종의 공덕을 기리는 악무 제정의 필요성이 제기되었다. 예에 비해 소홀히 취급된 악을 바로잡아야 한다는 현실 인식에서 촉발된 예악정비는 고제(古制)를 전형으로 삼고 경전과 역대의 주요 역사서와 사전류를 참고하되, 중국의 예악 전승도 ‘순정’하지 않으므로 ‘고례(古禮)’와 ‘시의(時宜)’가 적절히 조화를 이루는 방향으로 귀결되었다. 아울러 세종 전반기에는 고제의 예악론에 따라 속악을 버리고 아악만을 전용하자는 논의가 우세하였지만, 점차 ‘조선의 음악이 중국과 다르다’는 인식하에 향악 겸용론이 정착되었다. 세종 후반기에는 조종의 공덕을 기리는 교화 목적의 대규모의 악무 제정이 새롭게 추진되는데 이 과정에서는 전통적인 예악론에서 기피하는 속악을 과감히 채용함으로써 중국과 다른 국가의례음악을 완성할 수 있었다. 이와 같은 세종대의 예악론의 인식과 국가예악 정비의 성과는 세종대에 세 종류의 악보로 완성되어 『세종실록』 권 136부터 권147권에 부록되어 전한다. 『세종실록악보』의 아악보는 군·신·민·사·물의 질서를 악률론으로 구현한 『율려신서』의 이론 중 일부를 채택하여 논리적 체계를 세우고 이를 활용하여 조회아악과 제사아악을 완성하여 악보화하였다. 이 악보는 중국의 원전을 조선의 방식대로 재편한 것이며, 중국과 다른 기보체계인 ‘궁상자보’를 새로 만들어 쓴 것이다. 신악보는 향악과 고취악에 기하여 조종의 공덕을 기리는 악가를 수록한 것이다. <봉래의>·<정대업>·<보태평>·<발상>의 42곡이며, 중국악보에서도 활용된 적이 있는 네모칸 악보를 응용하여 가사와 악기선율, 음높이를 적고, 여기에 중국과 달리 음의 시가를 표기할 수 있는 유량악보, 즉 정간보를 탄생시켰다. 세종대에는 아악 외에 전래의 속악을 정비하는데도 힘을 기울였다. 세종대에 속악 23곡을 수록한 『시용속악보』가 간행되었고, 이 중 두곡이 『세종실록악보』말미에 수록되었다. 이상과 같은 세종시대의 음악정비는 동아시아 유교의 근간을 이루는 보편적 예악론의 구현에서 출발하여 고제에 맞는 아악을 완성한데 이어, 예악론의 자율적 해석을 통해 조선 고유의 독창적인 신악을 창조하였다는 점에서 유례없는 음악사의 업적으로 평가된다.

현대 국악, 그 원형성과 변화ㆍ생성

송혜진(Song, Hye-jin) 한국음악문화학회 2015 한국음악문화연구 Vol.6 No.-

본고에서는 20세기 이후 현대 국악 전승의 양상을 원형성과 변화의 추이를 살피고, 발전적인 전망에 대한 의견을 제시하였다. 먼저 ‘국악’이라는 용어의 연원과 용례, 국악의 범주에서 이루어지고 있는 다양한 음악활동, 이에 대한 일반 인식을 근거로 ‘현대 국악’의 개념과 범위를 다음과 같이 정의하였다. 현대 국악은 20세기 이전에 형성된 전통음악 외에 국악계에서 벌어지고 있는 다종다양한 음악 시도들, 그리고 각기 다른 음악적 배경을 가진 이들이 국악의 음악요소, 국악기와 전통 성악의 표현법을 빌어 탄생시키는 모든 창작과 연주를 폭넓게 수렴하는 ‘열린 개념’이다. 본론에서는 현대 국악 전통의 변화 양상을 다음과 같이 여덟 가지로 유형화 해 보았다. 첫째는 구비전승 되면서 가변성 농후하게 전승되어 온 전통음악이 악보와 음원 및 교육방법의 변화에 의해 정형화 경향을 띠게 되었다. 둘째, 새로운 공연 환경 속에서 전통적인 연주 양식이 해체되고 분화되는 변화를 겪었다. 셋째, 무대 예술 중심으로 전승되면서 무대 조건에 맞는 공연 양식이 정착되었다. 넷째, 편성이 확대되거나 장시간 연주, 악가무 종합연출 등 공연양식이 확대되는 경향을 보였다. 다섯째 실연자 중심의 창작에서 작곡가 중심의 창작으로 변화하였다. 여섯째, 서양의 관현악, 실내악 형태에 영향을 받은 연주형태가 생겼다. 일곱째, 악기 개량이 이루어졌으며 연주 편성이 다면적인 양상을 띠게 되었다. 여덟째, 대중화를 염두에 둔 공연활동이 증대되었다. 아울러 본고에서는 판소리와 가야금 음악을 사례를 중심으로 현대 국악의 변화, 생성 양상 유형을 좀 데 세부적으로 살폈다. 결론적으로 이와 같은 다양한 국악 변화, 생성에서 중시되어야 할 것은 무엇이며, 무엇을 기반으로 국악의 미래를 전망해 볼 것인가?, ‘실연 중심의 가변하는 창작원리’에 의해 축적되어 온 국악의 전통은 20세기 이후 전승되는 과정에서 과거와 다른 양상을 띠고, 지속적으로 변화해왔다. 오늘날 우리는 20세기 어느 시점에 악보화 되고, 기록화 되고, 무형문화재로 지정된 것을 ‘국악의 원형’으로 인식하기 쉽지만, ‘어떤 고정된 전형’을 ‘원형’으로 규정하는 일은 쉽지 않을 뿐더러, 최선이라고 할 수도 없다. 오히려 국악의 ‘원형’을 이루는 ‘본질’이 무엇인가에 대한 열린 시각과 원형성에 대한 탐구가 필요하며, 그 원형성을 구현할 수 있는 음악가 양성 체계, 원형성에 걸 맞는 무대양식과 공연조건 연구 등이 절실히 요구된다. 국악의 ‘원형’이 아닌, ‘원형성’의 획득이야 말로 현대 국악의 전승과 당대성 확보, 미래 전망에 가장 핵심적인 요소라고 할 수 있다. This paper explores the shift of transmitting modern gugak in terms of the “originality,” and looks at the changes happening in the aspects of modern gugak generated after the 20th century. First of all, the conception or boundary of “modern gugak” is defined on the basis of general ideas in which it is recognized in regard to the use of the term “gugak,” and of various musical activities. Modern gugak, therefore, is an “open concept” that extensively embraces many kinds of musical activities, but never refers to the traditional music which was formed before the 20th century, The musical activities here not only means a variety of musical attempts ongoing in the field of gugak, but also includes all the creative works and performances combining or containing traditional elements, instruments, vocal techniques. The aspects on the shift of modern gugak are categorized in eight different types. First, modern gugak tends to have been standardized due to the changes in music transmitting system, from oral tradition with variability to the fixed transcription and pedagogy. Second, the mode of performance was specialized and reorganized. Third, performance styles or forms are established appropriate for the stage as the music transmitted through on-stage presentation. Forth, the scale of music has expanded in enlarged arrangement, longer duration, and combined genres. Fifth, the mode of composition shifted from musician-centered to composer-centered. Sixth, Western style chamber ensemble and orchestra were formed. Seventh, musical instruments were modernized/modified, and its arrangement has been multi-faceted. Eighth, the number of concert and performance considering the popularization of gugak has increased. Pansori and gayageum music, as a case study of this musical shift, were examined in detail. In conclusion, this paper comes with an idea about the basis we can rely on to prospect the future of gugak, and suggests what should be weighed in such change and musical generation, The tradition of gugak which had been accumulated on the ground of demonstration-centered “variable” creation principle has continuously changed after the 20th century, showing different aspects in the process of transmission, We understand a specific form of music, such as notated, recorded, and designated as the “original,” for example important intangible cultural property. However, assigning a fixed form of paradigm as the “original” is neither the best nor an easy way. Instead, an open point of view as well as deep inquiry on the essence of composing the original form of gugak are required. Also, system of training musicians and research on the performance style or stage setting is required to actualize the originality of gugak. Securing the “originality” of gugak, not the “original” gugak is the core element in transmitting, contemporarily ensuring, and prospecting the modern gugak.

대학생의 MSNS(Mobile Social Network Service) 중독에 관한 연구

송혜진(Song, Hye-Jin),오세연(Oh, Sei-Youen) 동국대학교 사회과학연구원 2013 사회과학연구 Vol.20 No.2

이 연구는 우리나라 대학생들이 SNS를 사용함에 있어 어떤 이용충족 요인에 차이가 있고, 그러한 요인들로 인하여 SNS 중독에 영향을 미치는지 알아보고, 스마트폰 중독으로 인한 SNS 중독에 영향을 미치는 지를 실증적으로 검증해 보고자한다. 현재 급격한 스마트폰 사용인구의 증가와 더불어 SNS(Social Network Service)의 사용률이 함께 증가하고 있다. SNS는 사용자간의 자유로운 의사소통은 물론이고, 인맥 확대 등 사회적 관계를 형성하며, 예전에 쉽게 만나지 못했던 정치인, 연예인들 까지도 쉽게 시간과 장소를 구애받지 않고 만날 수 있다. 스마트폰을 이용한 SNS 이용이 증가하고 이로 인한 긍정적인 사회현상뿐만 아니라 부정적인 중독현상까지 나타나면서 병적인 중독에 빠져 현실을 부정하는 사례들도 늘어나고 있다. 이는 실시간이라는 장점이 중독을 부추기고 있는 것이다. 본 연구는 일반 대학생을 대상으로 표본집단을 선정하였고, SNS 이용충족 요인을 구분(커뮤니케이션, 사회적 관계, 관계형성, 즉시성)하였고, SPSS 프로그램을 이용하여 분석하였다. 분석결과, 성별에 따른 SNS 이용충족 요인의 차이는 커뮤니케이션, 즉시성에서 각각 차이가 나는 것으로 나타났으며, 대학생 성별에 따른 이용충족 요인 및 스마트폰 중독을 기준으로 한 다중회귀분석 결과는 성별에는 큰 의미가 없었지만, 커뮤니케이션과 관계형성이 SNS 중독에 영향을 미치는 것으로 나타났다. 그리고 이러한 스마트폰 중독이 SNS 중독에 영향을 미치는 것으로 나타났다. 이에 이 연구에서는 연구결과의 의미를 살펴보고 연구의 한계점 및 정책적 제언을 제시하고자 하였다. This study was conducted in order not only to find out what use and gratification factors there are for university students to using SNS, but also to look into how these factors influence SNS addiction. And we try to verify empirically how smart-phone addiction influence SNS addiction. The rate of SNS(Social Network Service) use is increasing with sharply growing smart-phone population. SNS can not only make free communication among users, form social relations like making more personal connections but also it can make the people meet with no bounds on time and place even politicians and celebrities who were not east to meet. The increase of SNS using smart-phone bring about positive social phenomenon as well as negative addiction, and there has been some growing cases of denying reality because of morbid addiction. The real-time merit is a contributing factor to the addiction. This study named normal university students as sample, divided SNS use and gratification factors into communication, instantaneity, relationship building and networking, and then analyzed that by using SPSS program. The results of the analysis are as follows. As for gender results, the SNS use and gratification factors is different in communication and instantaneity. As use and gratification factors as well as smart-phone addiction for university student gender results, the multiple regression analysis result has no special meaning based on gender, but it showed that communication and relationship building influence SNS addiction. And these smart-phone addiction also influence SNS addiction. In this study, we tried to look at the meaning of study outcome and suggest uppermost limit of this study as well as political proposal.