2009년 서울 지역 피아노 듀오 연주회 프로그램 분석을 통한 제언

유승지 이화여자대학교 음악연구소 2010 이화음악논집 Vol.14 No.1

The year of 2009 marked the 20th anniversary of the Korea Piano Duo Association. Public perceptions of piano duos have much changed for the last 20 years since its foundation, when people were unfamiliar with the form of performance. Coming of age, Korea's piano duo scene now needs to take a new leap for further growth by analyzing the current situation. Based on the awareness of the issues, this study analyzed the programs of piano duo recitals held in Seoul in 2009, conducted interviews with the players, and investigated the following elements: 1) What kind of characteristics do their programs have and how are they organized? 2) How are the players organized, and how are the professional duo teams carrying out their activities? 3) What kind of characteristics do the places where the piano duos performed have? The analysis results focusing on those elements show that piano duo recitals made a considerable increase in numbers compared to the past and grew exceptionally in diversity of performance. As people augmented their interest in the teaching methods of the piano in the 1990s, various books on piano duos have also been published in the country. Despite all those improvements, however, few received systematic education for piano duo performance starting in childhood, and there were no professional piano duo teams that held scores of piano duo recitals a year as is the case in other countries. The causes can be found in the lack of interest in bringing up professional piano duo players due to the lack of perception of piano duo educational effects and the resulting absence of systematic education provided to children, and also due to the lack of information about how international professional piano duo teams performed their activities. Thus they need to follow the international trends in improving the educational system and creating a performance-based culture in order to apply piano duo performance to education more effectively and produce world-class piano duo teams in the nation. The findings of the study will hopefully create an opportunity to take deep consideration of overall piano duo education and the training of professional piano duo players, thus contributing to the growth of Korea's piano duo education.

카네기멜론대학의 달크로즈 교육 프로그램 분석을 통한 제언

유승지 한국달크로즈학회 2009 한국달크로즈논집 Vol.1 No.-

In Korea, the principles of the Dalcroze Method have long been applied to the field of education for young children and music education. However, the original method, whose three major axes are ‘eurhythmics’, ‘solfege’, and ‘improvisation’, has been mostly introduced in the area of ‘eurhythmics’. As a result, the substance of the method has been partially distorted in its spread. Thus this study set out to propose the applicability of the Dalcroze Method to Korean educational institutions by analyzing the undergraduate programs, graduate programs, summer workshops, short-term workshops, international conferences, preparatory music school, and satellite school of Carnegie Mellon University, one of the most utmost Dalcroze educational institutions in the United States. It also aimed to promote understanding of the nature of the Dalcroze Method, whose introduction has been concentrated in a certain area, by examining the general ideas of the examination requirements to obtain the International Dalcroze Certificate. 국내에서 달크로즈 교수법의 원리는 유아 교육과 음악 교육 분야에서 오랫동안 적용 되어져 왔다. 하지만 그 적용 과정에서 ‘유리드믹스’, ‘솔페즈’, ‘즉흥연주’ 3대 영역이 축을 이루는 그의 독창적인 교수법이 ‘유리드믹스’영역만 편향적으로 소개되어 그 교수법의 실제가 왜곡되어 전파되고 있는 현상도 보인다. 따라서 본 연구는 미국의 대표적인 달크로즈 교육 기관인 카네기멜론대학의 학부과정, 대학원 과정, 하계워크숍, 단기 워크숍, 국제학술대회, 음악예비학교, 위성학교 운영실태를 분석하고 국제달크로즈공인자격증을 취득하기 위한 시험 요강을 살펴봄으로써 달크로즈 교수법의 본질에 대한 이해를 높이고 국내에서 보다 효과적으로 달크로즈 교수법이 전파될 수 있는 방법을 제시하고자 한다.

≪어린 피아니스트를 위한 10개의 모음곡≫ 분석을 통해 발견한 달크로즈의 음악어법과 교수학적 아이디어

유승지 이화여자대학교 음악연구소 2016 이화음악논집 Vol.20 No.3

20세기를 대표하는 음악교육가 달크로즈는 교육용 목적을 위해 많은 피아노작품을 작곡하였다. 하지만 작곡가로서의 그의 활동과 위상에 대해서는 잘 알려져 있지 않다. 1906년에서 1907년에 걸쳐 달크로즈가 작곡한 ≪어린 피아니스트를 위한 10개의 모음곡≫에는 ‘내 즉흥연주 수업을 듣는 학생들에게’라고 헌정 대상이 명시되어 있는데, 19세기 낭만주의로부터 물려받은 전통주의 화성에 바탕을 두고 있으면서 소박하고 아름다운 선율을 지니고 있어 달크로즈의 음악어법을 이해하기에 매우 좋은 작품이다. 이에 본 연구는 달크로즈의 피아노 작품 ≪어린 피아니스트를 위한 10개의 모음곡≫을 분석함으로써 작곡가로서의 달크로즈를 재인식할 수 있는 계기를 마련하고, 달크로즈가 음악교육자로서 가지고 있던 생각을 어떻게 작품 속에 녹여냈는지 살펴보는 것을 목적으로 이루어졌다. 그의 작품은 1) 색채감 풍부한 화성어휘, 예측불가한 조성변화, 2) 연주자의 다양한 호흡을 유도하는 프레이즈 구성, 3) 뉘앙스의 섬세한 표현을 담고 있는 것으로 나타났고 이러한 음악적 내용은 그의 교수학적 아이디어로부터 파생된 것이었다. 따라서 본 연구의 결과는 이 곡을 연주하는 연주자들, 가르치는 교사들, 그리고 교수학적 필요에 의해 새로운 작품을 탐색하는 연구자들에게 유용한 자료로 제공될 것이다. 또한 국내에서 전혀 다루어지지 않았던 달크로즈의 피아노작품 관련 연구의 시발점이 될 것으로 기대한다. Dalcroze, one of the greatest music educators in the 20th century, composed a huge number of piano pieces for educational purposes. There is, however, nothing much known about his activities and status as a composer. Written in 1906 and 1907, his Dix Miniatures pour Jeunes Pianistes was dedicated to “the students in my improvisation class.” It is a very good piece to understand his musical grammar as a composer. This study thus set out to analyze his Dix Miniatures pour Jeunes Pianistes, thus creating an opportunity to renew the perceptions of Dalcroze as a composer rather than an educator and examining how he reflected his ideas as a music educator in his works. The findings were as follows: his work turned out to show the harmonious vocabulary of rich color sensations and unpredictable tonality changes, present a phrase composition to induce the player’s breathing in various fashions, and contain delicate expressions of nuances. Those bits of musical content came from his instructional ideas. Players or teachers can use the information provided in the present study as a ground for musical interpretations. It can be also prove useful to the people that are in search for new repertoires for instructional needs. Furthermore, the present study will mark the beginning of research conducted on Dalcroze’s piano works that have not been covered in the nation.

달크로즈의 『어린이와 청소년을 위한 16개의 리듬 게임』1권 리듬 게임의 원리와 적용 방안

유승지 한국무용교육학회 2020 韓國舞踊敎育學會誌 Vol.31 No.3

16 Rhythmic games for children & young people Vol. 1 by Jacques-Dalcroze, E. is a unique work that contains piano scores and rhythm games designed by Jacques-Dalcroze himself. This study aimed to discover Jacques-Dalcroze’s pedagogical ideas hidden in this work and to seek ways to creatively apply the rhythm games proposed by the composer in the current field of education. The findings can be summarized as follows: 1) All the works included had musical characteristics that could effectively elicit movement. In particular, it was found that phrases and forms greatly influenced the composition of movement; 2) Rhythm games are divided into follow, quick reaction, canon, and replacement, and all games have been shown to consist of activities to effectively learn specific musical concepts; 3) In terms of movement, Jacques-Dalcroze introduced activities to help students experience various spaces including straight lines, diagonal lines, and curves. Both locomotor and non-locomotor movements were proposed in various ways. Also included were activities that students could experience in all the spaces of up, down, left, and right. And the most important finding was that all of activities were focused on drawing students’ creative expression skills and sensitive listening ability. Therefore, the findings of this study are expected to serve as useful material for researchers interested in music education through movements or researchers who want to apply the principles of rhythm games in dance education.

달크로즈 솔페즈 교수법의 이해와 적용

유승지 ( Seung Ji Ryu ) 세계음악학회 2016 음악과 문화 Vol.34 No.-

This study set out to investigate the solfege method of Dalcroze, which was fairly unknown in Korea and thus explored the possibilities of extending the use of his method in the field of education. For those purposes, the study looked into the major characteristics of his methods and the major educational content addressed in the current Dalcroze teacher-training program were analyzed. Based on those theoretical considerations, the study also proposed an instructional plan specifically applicable to actual lessons. Dalcroze created a unique method by applying movements and improvisations to his solfege lessons and combining sight reading, ear training, harmony, counterpoint, and composition together. In doing this, solfege lessons rose in status of discovering and experiencing music rather than just studying it on a theoretical level. Not only do solfege lessons help students sing in accurate pitch and distinguish tone but it helps them understand and create music as well. In addition, they enable the students to develop their inner hearing, and cultivate the abilities of feeling and expressing music with their whole body. The findings will offer useful data to the field of music education in Korea, where the importance of integrated education has been emerging, and create opportunities to diversify the education of music theories.

학회 10주년 기년 달크로즈 페스티벌 분석을 통한 어린이 공연 발전 모색

유승지 ( Seung Ji Ryu ) 세계음악학회 2009 음악과 문화 Vol.20 No.-

동물관련 표제음악을 활용한 움직임을 위한 즉흥연주 지도방안

유승지 ( Seung Ji Ryu ) 이화여자대학교 음악연구소 2014 이화음악논집 Vol.18 No.2

Dalcroze put an emphasis on the importance of improvisation in music education, and the Dalcroze teacher training courses place great importance on the cultivation of the abilities to express movements through improvisation. Students can learn various composition techniques, and easily come up with creative ideas through imitation. Animal-related program music reflects the characteristic movements of animals in music and offers good materials to learn improvisation and how to effectively connect them with movements. This study thus extracted the pieces of animal-related programs in piano teaching materials at the intermediate level, analyzed the common composition techniques among composers, and explored the materials of improvisation for movements. The pieces were analyzed according to rhythm, meter, scale, interval, harmony, register, articulation, dynamics, phrase, and tempo. The analysis results show that a variety of musical elements were selected and used according to the animal characters. Improvisation activities with the analyzed elements were applied in the following processes: 1) appreciating and creating imagery to match the music, 2) moving to the music, 3) analyzing the music, 4) improvising based on the analyzed music information, and 5) purifying the created music. Going through those processes, the students experienced the following changes. First, they had profound reflection on the various elements of music in the process of experiencing improvisation for the movements. This raised their understanding level of the music and developed their ability to interpret music autonomously. Secondly, they took interest in the uses of the body to make musical sounds after receiving the lesson with unique processes of imagining animal movements, expressing their characteristic movements with their entire body, and improvising. Third, they improved their motor skills, naturally improved their techniques, and made preparations for a sophisticated and expressive performance after the process of conveying animal movements through the various uses of gross and fine-motor skills. And finally, they improved their music dictation skills by training to concentrate and listen to sounds in the process of expressing the movements they imagined or experienced through improvisation. It thus seemed that experiencing improvisation for movements helped to enhance not only improvisation skills but also excellent performance skills. The findings of the present study will provide useful information for the creative works of piano teachers or composers who are interested in the creation of piano practice pieces as well as the field of music education and are utilized in the creation of animation, movies, and advertisement music. The study will hopefully be followed by future research on more diverse topics adapted to this area so that improvisation through program music will be utilized more actively across various fields.

수치해석을 이용한 알루미늄 합금 Al5052-H32의 TWB 마찰교반용접부의 Tilting angle에 따른 열적 특성 비교

유승지(Seung-Ji Yoo),김경학(Kyoung-Hak Kim),노찬승(Chan-Seung Ro),방한서(Han-Sur Bang),방희선(Hee-Seon Bang) 대한용접·접합학회 2018 대한용접학회 특별강연 및 학술발표대회 개요집 Vol.2018 No.11

스위스 달크로즈인스티튜트(IJD)의 교육과정 분석을 통한 국내 달크로즈 교육 발전방안 모색

유승지 ( Seungji Ryu ) 세계음악학회 2018 음악과 문화 Vol.39 No.-

This research aimed to explore measures to further develop Korean Dalcroze education through the process of analyzing the Dalcroze educational program of the Institut Jaques-Dalcroze (IJD), which is not well known in Korea. For this purpose, the researchers visited IJD from October 30th to November 17th, 2017, and experienced the actual education through participating in various classes. In addition, a thorough review of the curriculum was conducted using the following methods: interviewing students and faculty members, analyzing information about the IJD course from brochures and information retrieved online, and using handbooks for undergraduate and graduate courses. Through the analysis of the educational program of IJD, it was recognized that the curriculum for the Dalcroze teacher training was designed for the following educational objectives: 1) Education to nurture professionals who maintain and develop the identity of the Dalcroze method; 2) Education to raise artists who can carry out creative projects; (3) Education to foster teachers who broaden the scope of the Dalcroze method in society; and (4) Education to cultivate researchers who will lead the academic development of the Dalcroze method. IJD and domestic education conditions are very different, but the educational goal of training qualifying Dalcroze experts is the same. According to the research, the following efforts seem to be necessary for Korean Dalcroze education to develop further in the future: 1) Exploring a systematic curriculum to nurture Dalcroze experts more effectively; 2) Developing a test system to help students progressively improve their skills; 3) Promoting creative projects via small-group activities with various level of students (ranging from beginner to advanced); 4) Nurturing field-customized talents through cooperation with various institutions and efficient operations of teaching practice process; 5) Conducting research projects through interdisciplinary exchanges; 6) Obtaining educational materials through collecting and publishing research data; and 7) Fostering exchanges through global young talents cultivation.

초급 피아노 교재에 사용된 장,단조 체계 이외의 악곡 분석과 활용 방안

유승지 ( Seung Ji Ryu ) 세계음악학회 2010 음악과 문화 Vol.23 No.-

The purposes of this study were to examine and analyze musical pieces based on scales other than the major and minor scale in elementary piano method books and consider the significance of such musical pieces in elementary piano education. It also aimed at suggesting plans for today`s children living in the 21st century to utilize their capabilities as players, composers, and improvisers, as did the musicians from the past in the elementary stage. For those purposes, the investigator examined some of the elementary piano method books, namely Alfred`s Basic Piano Library, Piano Adventure, Klavier and 123 Klavier. The research scope was restricted to musical pieces in (1) the pentatonic scale, (2) the whole tone scale, (3) the chromatic scale, (4) the mode, and (5) the polytonality. As a result, there were a total of 674 musical pieces in the four piano books with 43 in the pentatonic scale, 6 in the whole tone scale, 6 in the chromatic scale, 25 in the mode, and 2 in the polytonality. Judging from the results, it is safe to say that the currently used piano books contain musical pieces in much more diverse scales than the ones based on `Middle C Reading Approach.` However, there were some indications of proof, namely the inclination of book organization toward the major and minor scale and poor theoretical explanations about the scales other than the major and minor scales, that the pieces in scales other than major and minor were still neglected to some degree despite their huge significance in music education in the 21st century. In an attempt to help the students understand the musical pieces in the scales other than major and minor with poor explanations provided for them and increase their comprehensive musicianship, the investigator researched teaching plans to utilize those pieces and made various suggestions related to improvisations, and composition. Those scales, which have much greater access to improvisations than the major and minor scale and create their own unique moods, contain many effective contents to help the students learn to play the piano with interest and develop their comprehensive musicianship in early music education. They also present themes that the students should definitely learn in order to experience diverse musical pieces from the Baroque Period to modem times with no prejudice. The research findings will hopefully provide piano teachers with useful information with which to teach their students musical pieces in the scales other than major and minor. Teachers armed with enough theoretical knowledge can teach their students to naturally develop improvisations and compositional skills as well as play the piano based on a profound understanding of music. Ultimately the study results will hopefully have positive influences on piano pedagogue who try to promote a bright future by developing new 21st century-style piano books.