서울 상업용도지역 내 주거 기능 회복의 필요성과 방향 -서울 역사도심과 뉴욕 맨해튼을 중심으로-

이연경,이경민,최원우,신중호,김도년,Lee, Youn-Kyung,Lee, Kyung-Min,Choi, Won-Woo,Shin, Jung Ho,Kim, Do-Nyun 국제문화기술진흥원 2022 The Journal of the Convergence on Culture Technolo Vol.8 No.6

The purpose of this study is to present the problems of urban ecosystem imbalance in Seoul and the need to restore housing functions through comparison with Manhattan, New York, which grew earlier than Seoul and has been striving to solve urban problems and restore urban ecosystems. The residential status in urban commercial use areas was investigated through analysis of the total amount of residential space, characteristics of each type of residential building, and distribution of residential buildings. Through this, it can be seen that most of the space in Seoul's historic city center is biased toward commercial roads, and there are significantly insufficient high- and high-density mixed-use buildings suitable for urban dwellings compared to Manhattan's. In addition, it can be seen that the complex building in the historical city center of Seoul is located adjacent to the outskirts of the target site. In conclusion, Seoul's historical city center does not provide an appropriate residential space for creating an urban ecosystem, and it is necessary to come up with measures to restore housing functions.

창업지원주택 내 커뮤니티 활성화 계획요소에 관한 연구 - 서울, 뉴욕, 파리 사례를 바탕으로 -

이연경(Lee, Youn-Kyung),박범찬(Park, Bum-Chan),김도년(Kim, Do-Nyun) 대한건축학회 2021 대한건축학회 학술발표대회 논문집 Vol.41 No.1

The purpose of this study was to identify planning strategy to enhance community engagement of start-up housing and therefore, provide guideline for upcoming start-up housing development. Hence, this report analyses key factors that improved community engagement based on start-up housing case study in Seoul, New York, and Paris. The results of this study were as follows. First, Physical and Non-Physical element must be interoperative and interrelated. Second, space for unplanned collaboration and engagement should be provided. Third, special activities must be provided to create or improve community network. Finally, consideration needs to be given to elements of a customized community revitalization plan that allow residents with similar interests and purposes to form a close community.

아동의 가창기술에 영향을 주는 요인에 대한 연구

이연경(Youn Kyung Lee) 한국음악교육학회 1999 음악교육연구 Vol.18 No.-

Traditionally, singing has been considered a major component in the elementary music curriculum and a means by which all musical concepts can be taught in the primary grades. The issue of vocal development is a major concern to music educators and children`s singing ability has been the topic of research studies for several decades. Singing skill and related matters such as vocal range, vacal model, pitch discrimination, causes for inaccurate singing, and methods of instruction or techniques for remediation of inaccurate singers have been investigated and surveyed in numerous studies. Elementary music teachers are seeking more information regarding the children`s singing skill and the improvement of children`s singing, which is scientifically verified. A considerable amount of the related research in an experimental setting has been reviewed to analyze, summarize, and integrate the findings of the studies investigating children`s singing accuracy and the teaching of singing. The purpose of this paper is to provide some information on valuable research findings regarding the characteristic aspects of response in children`s singing and the factors affecting accuracy of children`s singing. The major discussions presented in this paper are as follows : (1) the requisite skills for accurate singing (2) vocal range and tessitura (3) the relationship between age and singing ability (4) the effect of gender on singing achievement (5) the effects of pitch discrimination and tonal memory on singing accuracy (6) factors affecting pitch accuracy such as voice quality of vocal model, individual and unison group singing, melodic and harmonic accompaniment, characteristcis of singing tasks (the pitch, length, intervals, and direction of melodic materials), and use of text, a neutral syllables or solfege (7) the effects of teaching techniques including reinforcements such as visual, verbal, and aural feedback, body movement, curwen`s hand signal, speech-to-song approach, and breath control instruction (8) suggestions for possible applications of research on singing to the elementary general music classroom. With the research findings summarized in this paper, the teachers can (theorize) gain some insight about the basic processes involved in successful singing and plan more effective programs of training for young children and remedial strategies for inaccurate singers. And also researchers can formulate more relevant hypotheses for investigation. As many in the profession agree that singing is a teachable skill and is a facet of music expression (a joyous experience for practically every child), basic singing skill should be attained by all children with adequate instruction.

미국 작곡가 에마 루 디머(Emma Lou Diemer)의 교재용 피아노 악곡 연구

이연경 ( Youn Kyung Lee ) 한국피아노교수법학회 2016 음악교수법연구 Vol.17 No.1

에마 루 디머(Emma Lou Diemer)는 20세기 미국 여성 작곡가로 다양한 장르의 현대음악을 방대한 양으로 작곡하였다. 건반음악 연주자이기도 한 디머는 교재용 피아노 악곡을 많이 작곡하였는데 그녀의 피아노음악은 음군, 음렬, 내부 현 연주기법 및 약음기법과 같은 여러 혁신적 주법을 비롯하여 다양한 20세기 작곡기법을 사용하고 있어 현대 음향과 20세기 음악양식의 학습에 효과적인 작품으로 평가되고 있다. 이에 본 연구는 디머 피아노 음악에 대한 교사들의 이해를 도모하기 위해 디머의 생애 및 음악교육배경, 주요 음악활동, 시기별 작곡경향을 고찰하였다. 본 연구는 관련 문헌 검토를 통해 디머의 피아노 독주곡 전체를 조사하였으며, 피아노 독주곡을 상급 수준 연주용 레퍼토리와 초급ㆍ중급 수준 교재용 레퍼토리로 구분하여 각각 악곡 목록을 제시하였다. 교재용 악곡 중에서 대표적인 다섯 작품집을 선정하여 각 작품집에 사용된작곡기법과 음악적 특징을 검토 분석하고 주요 지도요소 및 연주상의 특이 사항 등에 대해 살펴보았다. 본연구에서 고찰한 디머의 교재용 악곡은 시대적, 양식적, 기법적 측면에서 피아노 레퍼토리의 다양성을 확장시키는데 기여할 것으로 기대된다. Emma Lou Diemer is a prolific American woman composer who has been active as a musician of various roles, such as a composer, teacher, and performer. Diemer explored a diversity of musical styles and a greater number of innovative twentieth century techniques in her piano music. Diemer’s pedagogical works for piano have been suggested as a valuable teaching literature by many piano pedagogues. The purpose of the study was to introduce elementary and intermediate solo piano works composed by Emma Lou Diemer. The study made a comprehensive survey of concert and pedagogical piano works by Diemer and selected composer’s five representative albums to give detailed analysis regarding compositional techniques, teaching elements, and performance considerations. And also the study reviewed composer’s biography, musical background, professional activities, awards and compositional styles. The paper provided the lists of the entire concert and pedagogical piano solo works. Thorough examination of Diemer’s instructional piano works shows that these pieces are written in various musical contents including the following 20th century stylistic elements: 12 tone-row, tone cluster, quartal/quintal harmony, graphic notation, and extended techniques such as inside piano playing and dampened strings. The primary goal of this study was to expand contemporary piano teaching literature and guide piano teachers for understanding Diemer’s piano works. It is hoped that the study will help teachers make a repertoire selection for contemporary instructional literature and recognize the value of piano works of Diemer for introducing musical styles of the 20th century to students.

소아 연령에 따른 IgG 및 IgG Subclass 정상치의 변화

이연경(Youn Kyung Lee),김동수(Dong Soo Kim),이정운(Jung Woon Lee),임형복(Hyung Bok Lim),이기영(Ki Young Lee) 대한소아알레르기호흡기학회(구 대한소아알레르기 및 호흡기학회) 1999 소아알레르기 및 호흡기학회지 Vol.9 No.1

목 적 : 현재 사용하고 있는 IgG 아형 농도측정방법은 일반적으로 ELISA법에 의하는 것이 대부분이다. 이 방법은 기존에 알려져 있는 방법중 가장 낮은 농도까지 측정할 수 있는 장점이 있으나 결과 판독에 있어서 일정한 결과를 얻기가 힘든 경우들이 종종 있는 실정이다. 이번에 영국 Binding사에서 개발된 방법은 nephelometry를 이용하는 방법으로 결과 판독에 어떤 장점이 있는지를 알아보기 위하여 본 연구를 시행하였다. 방 법 : 대상은 신생아, 1-4개월, 5-10개월, 11-24개월, 2-5세 사이의 정상 소아 각 20명씩을 대상으로 혈청 내 IgG와 IgG subclass를 측정하였다. 방법은 Human IgG subclass, Liquid reagents BNⅡ kit(Binding Site Ltd., England)를 사용하여 nephelometry(Gehring Nephelometer Analyzer Ⅱ, Germany)로 측정하였다. 결 과: 1) IgG, IgG_1, IgG_2, IgG_3, IgG_4의 표준곡선은 r값이 각각 0.991, 0.997, 0,980, 0.973, 0.997로 잘 correlation됨을 알 수 있었다. 2) IgG, IgG_3, IgG_4는 5-10개월에 가장 낮은 양상을 보이다가 2-5세에는 정상 성인 수준으로 증가하는 양상을 보였다. 3) IgG_l, IgG_2는 1-4개월에 가장 낮은 양상을 보이다가 역시 2-5세에 정상 성인 수준으로 증가하는 양상을 보였다. 결 론 : Nephelometry를 사용하는 방법은 ELISA방법에 비하여 낮은 농도를 측정하는데는 한계가 있지만 일반적인 농도를 측정하는데 있어서 정도관리(quality control)가 잘 되는 좋은 방법으로 생각된다. Purpose : Currently the most widely used method of measuring IgG concentration is the method employing ELISA. This method has an advantage to detect smaller quantities than other standard methods, but in certain cases, consistent results cannot be obtained, thus impairing reliable data analysis. In this study, we attempt to determine the advantages in data analysis offered by the new method developed by Binding Site Ltd.(England) that employs a nephelometry. Methods : 20 healthy subjects were studied from each of the following age groups : neonates, 1-4 months old, 5-10 months old, 11-24 months old, and 2-5 years old children. Serum IgG and IgG subclass concentrations were measured by nephelometry(Gehring Nephelometer Analyzer Ⅱ, Germany) using Human IgG subclass, Liquid reagents BNⅡ kit(Binding Site Ltd., England). Results:1) The r values for the standard curves of IgG, IgG_1, IgG_2, IgG_3, IgG_4 concentrations were 0.991, 0.997, 0.980, 0.973, 0.997, respectively. 2) IgG, IgG_3, and IgG_4 concentrations were lowest at the age of 5-10 months and increased to normal adult levels at 2-5 years of age. 3) IgG_1 and IgG_2 were lowest at the age of 1-4 months and increased to normal adult levels at 2-5 years of age. Conclusion : The method employing nephelometry for measuring serum IgG & IgG subclasses concentration is not as sensitive as ELISA in detecting the lower concentrations. However, our studies indicate that it presents the advantage of better quality control in measuring values in the average range.

기악 연주기술 발달에 영향을 주는 요. 인 및 교육적 적용을 위한 탐색: 관련 연구의 문헌적 고찰에 근거하여

이연경 ( Youn Kyung Lee ) 부산대학교 과학교육연구소 2011 교사교육연구 Vol.50 No.3

기악 연주기술 발달은 음악교육의 중요한 목표 중의 하나로 효과적으로 연습하는 능력은 기악 연주기술 습득의 중요한 요소로 간주되어 왔다. 연주기술은 개개인의 학습 이력에 따른 결과로서 기악 연주기술이 발달되는 과정과 방식 및 최종 습득되는 연주기술의 구조와 수준은 개인마다 다른 것으로 추정되고 있다. 학 생들의 악기 연습과정을 적절히 안내하고 지원하기 위해서 교사는 여러 수준의 학생들에게 적합한 효과적인 연습전략을 계획 구안하여 제안할 수 있는 능력과 이를 위한 전문적인 식견이 요구된다. 기악 연주기술 발달과 관련된 다양한 문제 및 악기 연습과정에 관련된 여러 요인들에 대한 기악 실기 교사들의 이해를 도 모하기 위해 교사들에게 이에 대한 심리학적 원리와 학술적 근거 자료를 제공할 필요가 있다. 본 연구는 포괄적인 문헌조사를 토대로 과학적인 방식으로 실행된 관련연구들을 수집 조사 분석 종합하여 기악 연주기 술 발달에 양향을 주는 변인들을 다각적으로 규명하였으며 이에 근거하여 효율적인 연습기법과 교수전략을 탐색하여 체계적인 기악 실기지도의 방향을 제언하였다. 본 연구에서 중점적으로 조사한 내용은 다음과 같 다; 연습의 속성과 3단계 전략적 국면; 연습량과 연주 성취도와의 상관관계; 기악 연주기술 습득과정: 기악 연주기술 발달에 영향을 주는 내적 요인 (동기유발, 개인적 성향, 자기규제 능력) 및 외적 사회 환경적 요인 (가정환경. 조기 음악적 경험. 부모와 교사의 역할): 음악연주의 인지적 표상화 능력; 숙련된 연주자의 연습행동 특성; 및 효과적인 기악 연습기법 (연주 모델 제시하기, 연습목표 설정 및 구조화된 연습, 유목적 반복연습, 및 정신적 연습과 신체적 연습). 관련연구들을 검토한 바에 의하면 기악 연주기술 습득과 뛰어난 연주력은 타고난 유전적 소질이라는 입장보다는 여러 후천적 요인들이 작용된다는 견해가 지배적이다. 즉, 연습과 노력, 성취 욕구, 자기규제 (self-regulation) 성향 둥의 개인 관련 내적 요인 및 긍정적인 조기 음악경험. 교사와 부모의 우호적이고 적극적인 지원 등을 포함하는 외적 환경 요인과 많은 관련성을 지니는 것으로 설명되고 있다. 하지만 유전적 소인의 개인 차이가 동기유발 과정과 어려운 일에 참여하는 능락 등 에 영향을 주는 것으로 추정되고 있다. The development of instrumentalists`musical performance skills has been considered as one of the most important goals in music teaching, and the ability to practice effectively is essential for acquiring musical performance skills. Instrumental music teachers need competency to plan and to suggest the strategies for effective practice. Therefore, it is necessary to provide a better understanding of what makes practice effective and how it contributes to the acquisition of musical expertise. The purpose of the study was to review and synthesize the research findings in the development of instrumentalists` musical performance skills to investigate the variables that influence the development of performance skill and the effectiveness of practice. The present study discussed the concept of deliberate practice, three strategic practices, the amount of practice time, skill acquisition phases, and the development of expertise in music. The study also identified the intrinsic factors on musical development such as motivation, the cognitive style (reflection/impulsivity), self-regulation, as well as the environmental influences which include the home environment: early interactions with music, supervised practice by parents, and the role of the music teacher. Finally, suggestions were provided for applying these research findings to actual music teaching practices. Based on the characteristics of practice behavior of expert musicians and three cognitive skills of instrumentalists` musical performance, the following practice techniques and strategies were described: practice approach in an organized, goal-oriented manner; purposeful repetition; focus on error detection and correction; providing performance model and self-monitoring; mental practice in combination with physical practice; study and analysis of scores; and regular practice sessions.

리듬감 신장을 위한 다양한 리듬 지도 기법에 대한 연구

이연경(Youn Kyung Lee) 한국음악교육학회 2002 음악교육연구 Vol.22 No.-

The teaching of rhythmic skills has been regarded as one of the most important areas in music study, but there has been a lack of understanding on the pedagogical principles of rhythm learning and various teaching techniques. The purpose of this study is to suggest various teaching techniques which can be used effectively in promoting rhythmic sensitivity of children in general music classroom. This study reviewed the related literature concerning music teaching method to examine rhythm learning theories to provide the theoretical basis on developing instructional strategies for rhythm teaching. The rhythm learning theories reviewed in the study were Koda´ly music method, Eurhythmics of Jaque-Dalcroze, speech rhythms and body rhythms of Orff, and the movement theory for cultivating beat awareness proposed by Weikart. And also the study discussed and compared several rhythm syllable systems which were developed to facilitate rhythm reading process. The ryhthm syllable systems described in the study were as follows: (1) Koda´ly`s rhythm duration syllable; (2) Gordon`s rhyrhm syllable based on the actual aural / oral sound of the rhythm patterns which are perceived and audiated; (3) Orb`s word rhythm method; (4) action words system based on body movements; (5) the rhythm reading method based on the actual note names; (6) the system chanting rhythm by counting the number of beats and subdivisions of the beat such as 1 and 2 and (??) or 1 e and a (♬♬) ; and (7) the reading approach suggested by Bebeau, which incoporated several ryhthm reading techniques such as syllables, note names, and words. The logic of a rhythm learning sequence must be set by teachers with a thorough understanding of conceptual learning and of developmental levels of children. In this aspect, the study examined rhythm learning contents of several major music curriculum to identify a logical sequence for the introduction of rhythm elements. The instructional strategies offered in the study were classified into the following seven categories and described in detail with specific teaching ideas and learning activities: (1) the approach based on bodily movement; (2) the aural appraoch utilizing musical compositions to increase aural skills in discriminating rhythmic patterns through listening experiences; (3) the visual approach emptying the various visual materials to reinforce rhythmic understanding; (4) the creative approach to guide the students explore and express rhythmic elements in creative ways; (5) the teaching technique using poems or rhymes as teaching materials for applying and exploring rhythm elements in various manners; (6) the approach using short piano pieces as a music material for an activity to create and design rhythmic dances; and (7) the teaching staratgies introducing rhythm games to increase the interest of the students in the study of rhythm as well as to develop rhythmic response.

치과내원환자의 감염관리에 관한 인식도 조사

이연경 ( Youn Kyung Lee ),김순덕 ( Soon Duck Kim ) 한국치위생학회 2010 한국치위생학회지 Vol.10 No.4

Objectives: The research which sees collected information about dentistry infection management recognition of the patients and the infection management which the medical treatment consumer does in necessity is what, grasped and satisfaction and became the fundamental data which makes the hospital will be able to trust about dentistry image rise and dentistry environment of the medical treatment consumer who assists a dentistry character executed. Methods: From 2009 April 1st until May 28th 233 people common people who have the experience which visits a Gyeongsangnam-do area dentistry the object with the entry question law which sleeps did and the data analysis SPSS, 12.0 For Window under using produced each question item by frequency and a ratio, the analytical degree of infection management One-Way ANOVA stamps and executed t-test. Results: Information experience experienced about dentistry infection of the investigation object person to be, appeared with 74.7% and the after that dentistry assistance at the time of conduct change which experiences the answer back regarding of `Former times attentively observes organization disinfecting` was most with 46.6%. The protective equipments wearing goal of the dentistry medical attendance appeared the dentistry medical attendance and patient protection 77.7%, dentistry medical attendance protection 12.9%, by patient protection 9.4% order. Before medical treatment starting of the dentistry medical attendance the hand Does not confirm` appeared 72.1%, with. The hand washing, is whole and the degree which appears is high with 4.11 points the stamp. Is high there was a possibility of knowing the thing about the recording infection where the educational background will be high and considers statistically the difference which was visible. Conclusions: The education which is active and continuous is necessary about infection management and sets the guides which are standardized to the patients and about infection management and about infection prevention and exposes from dentistry practices well to emboss the thing is thought that there is a necessity to plant a trust feeling about the dentistry where the patients assist (J Korean Soc Dent Hygiene 2010;10(4):617-625)

대학 기초 피아노 과정에 창작즉흥연주 지도를 위한 학습유형에 대한 연구

이연경(Youn Kyung Lee) 한국음악교육학회 2001 음악교육연구 Vol.21 No.-

The purpose of this study was to suggest various types of learning activity to develop improvising skills in college beginning piano classes. The study examined a considerable number of college class piano textbooks designed for the beginning level of piano instruction to analyze, identify, and summarize various improvising techniques which are effective in promoting the development of improvising skills. In examining the content of each method, The emphasis was given on the identification of improvising technique, teaching strategy, instructional material, and type of assignment for improvisation. The suggested activities for improvisation in this study were especially designed with the intention to assist the instructors who desire to offer improvisation experiences to their students by teaching with the currently used piano textbook that does not contain any improvisation exercises. The learning activities for improvisation presented in this study were classified into the following four types: (1) learning activities for melodic improvisation; (2) learning activities based on musical concepts; (3) learning activities using musical pieces in the currently used class piano textbook; and (4) learning activities utilizing the compositional techniques of non-traditional music. Each type of learning activity was divided into the several categories of improvisation study as explained in the below, and then each category was described in detail with many examples illustrating specific learning assignments for practicing improvising skills. The learning activities for melodic improvisation were divided into the following six categories according to improvising techniques: (1) melodic improvisation based on given rhythmic patterns; (2) melodic improvisation on pentatonic scale; (3) creation answer phrases to given question phrases; (4) melodic improvisation using specific musical elements; (5) melodic improvisation based on given chord progressions; and (6) melodic improvisation emplying techniques for motivic development such as sequence, inversion, retrograde, rhythmic diminution, and rhythmic augmentation. The learning activities based on musical concepts were divided into six areas of study according to the musical elements employed in the process of improvisation, such as (1) rhythm, (2) interval, (3) harmony, (4) scale, (5) musical form, and (6) texture. The learning activities utilizing the repertoire and the sight-reading pieces in the textbooks consisted of the following five categories of improvisation study: (1) creative music reading; (2) improvisation in the style of a certain composer; (3) creative multi piano ensemble playing; (4) creation of a theme and variations employing various variation techniques; and (5) Baroque style melodic embellishment. The learning activities using the compositional techniques of non-traditional idiom were classified into seven areas according to the following contemporary compositional ideas: (1) sound piece utilizing all sorts of sounds and performance techniques with innovative notations; (2) prepared piano techniques; (3) chance music; (4) twelve-tone row techniques; (5) jazz elements; (6) other characteristic twentieth-century compositional elements; and (7) performance ideas utilizing technology. Improvisation and creative activities at the keyboard aid in the development of creativity, listening skills, key sense, and an understanding of musical concepts and serve to synthesize the students` knowledge of other functional piano skills. Considering these musical and pedagogical values inherent in improvisation, improvisation should be taught as an essential skills in the class piano to educate the students as a comprehensive musician with creativity. In conclusion, it is hoped that various teaching suggestions introduced in the study could assist college class piano instructors in gaining valuable insights for planing and organizing creative keyboard activities and improvisa

리듬반응과 음악적 리듬지각에 대한 심리학적 이론 고찰을 위한 관계문헌 조사연구

이연경(Youn Kyung Lee) 한국음악교육학회 1998 음악교육연구 Vol.17 No.-

The purpose of the study is to review and synthesize the related research to provide a broad overview of the psychological principles regarding the rhythmic response and the perception of musical rhythm. This study was undertaken to fulfill the need to present the theoretical explanations of a variety of psychological phenomena involved in the rhythmic experience. The intent of the study is to provide the researchers with comprehensive bibliographic data which can be used as a valuable resource in organizing their work and to help the music educators gain some insight which should be considered for the development of rhythmic sense in their music teaching. After an extensive examination, it is discovered that a significant amount of research has been published in a wide variety of journals. And various rhythmic researches have been undertaken by employing different objectives and different styles of investigation. The majority of rhythm studies are experimental in nature. Research findings collected from a vast number of investigations were thoroughly examined and analyzed to provide an experimental evidence. And also the statements emphasized by the profession in this research field were summarized. Numerous aspects of the psychological phenomena underlying rhythmic experience were discussed in the study. The major aspects discussed in the study are as follows : (1) the nature of rhythm to clarify some of the confusion regarding the basic concepts of rhythm and the definitions of the various terms, (2) the function of rhythm (3) rhythmic structures in music such as beat, pulse, duration, meter, rhythmic pattern, and tempo, (4) the characteristics of rhythmic experience including subjective rhythmization, rhythmic grouping, rhythmic fission, the Gestalt principles of grouping, accentuation, anticipation, and synchronization, (5) the characteristics of time perception including JND (Just Noticeable Difference), the psychological present, spontaneous tempo, prefered tempo, onthological versus virtual time, and tempo perception, (6) the psychological elements of the rhythmic response and the rhythmic experience, (7) four response theories including instinctive theory , physiological theory , motor theory , and learned response theory , and (8) the perception of musical rhythms including simple rhythmic patterns, complex rhythmic patterns, and polyrhythm. According to the review of the related studies, rhythm has not been as thoroughly studied as pich. After a remarkable begynning in the last decade of the nineteenth century, the experimental research of rhythmic perception had been neglected during the early decades of this century and had gained a renewed interest from the 1950s. Many researchers indicate that one of the difficulties in conducting rhythm research is due to the elaboration and the complexity of cognitive process and perceptual system involved in the processing of temporal and rhythmic information. In the most of the investigations, the tasks required to the subjects for evaluating rhythmic discrimination capability are such as tapping along with a steady beat pattern or judging the relative durations of successive intervals in pairs. A considerable amount of an experimental research on rhythm has been devoted to explore the cognitive proccess of psychological organization of musical time and the lisener`s perception of rhythmic patterns. Some of the major findings in these areas are summarized as follows : (1) Patterns having temporal ratios of 2 : 1 between their elements are easy to perceive and reproduce. (2) There are two steps involved in the perceptual encoding of rhythmic pattern : the beat framework and its rhythmic subdivisions. (3) Rhythms are hierarchical structures. Thus complex rhythmic patterns are identified by the layered structure. (4) Different stratigies are employed to respond the complex polyrhythm and affected by tempo. (5) Long notes tend to be heard as initiating major metric