전통음악의 양악보에서 장단주기박자와 강약주기박자

이보형 한국국악학회 2009 한국음악연구 Vol.45 No.-

한국 전통음악인들은 박자라는 개념이 아닌 장단이라는 개념에 익숙해 있어 전통악보 기보법에 장단보(長短譜)는 있어도 박자표는 없었다. 그래서 그런지 근래에 한국 전통음악을 서양음악 기보법으로 채보하여 기록한 악보에는 서양음악의 박자를 주기로 하는 박자표로 기보한 경우도 있지만, 그보다도 장단을 주기로 하는 박자표로 기보한 경우가 많다. 이런 경우에 장단을 주기로 하는 박자표가 지시하는 박자의 개념은 무엇이며 이것이 또 서양음악에서 말하는 박자와 어떻게 다른가를 규명해야 하는 문제가 생긴다. 필자는 우선 양자를 변별하는 용어가 필요다고 생각하여, 장단을 주기로 하는 박자표가 지시하는 박자를 ‘장단주기박자’라 일렀고, 장단주기박자를 지시하는 박자표는 ‘장단주기박자표’라 일렀다. 그 상대 개념으로 서양음악에서 말하는 박자를 ‘최소 강약주기박자’라 하고 이를 줄여서 ‘강약주기박자’라 일렀고, 강약주기박자를 지시하는 박자표는 ‘강약주기박자표’라 일렀다. 그 동안 장단주기박자표와 강약주기박자표를 변별하지 않고 그냥 써왔던 이유는 양자의 차이를 규명하는 이론이 없었기 때문이라고 본다. 그래서 필자는 이미 다른 논문에서 장단주기박자를 규명하는 이론을 만든 바 있었다. 이 이론은 장단의 리듬 통사적 구성성분의 계층적 집합구조로 규명하고 이것이 장단주기박자를 생성하는 원리를 규명한 것이다. 이에 의하면, 장단 리듬 통사적 구성성분의 계층적 집합구조는 세 층위를 이룬다. 즉 자연태 음악에서는 음들이 2~3개가 집합하여 하 층위 구성성분을 이루는데 이를 ‘최소 리듬 구성성분 요소’(줄여서 ‘리듬소’라 함)라 일렀다. 리듬소들이 2~3개가 집합하여 중간 층위 구성성분을 이루는데 이를 ‘장단 주기보다 작은 리듬 구성성분 유형’(줄여서 ‘소리듬형’이라 함)이라 일렀다. 소리듬형이 2~3개가 집합하여 상 층위 구성성분을 이루는데 이를 ‘보편적인 장단 주기의 리듬 구성성분 유형’(줄여서 ‘여느리듬형’이라 함)이라 일렀다. 이 여느리듬형이 장단주기박자를 생성하는 것이다. 이 이론에 의하여 장단주기박자를 규명되었고 지금까지 잘못 기보된 장단주기박자표를 바르게 적는 방법을 제시하였다. 본 논문에서는 이 이론을 서양음악문법으로 된 노래의 박자, 즉 강약주기박자에 적용하여 봤더니 자연태에 가까운 노래에서는 리듬 구성성분이 두 층위를 이르는 경우가 압도적으로 많다는 것을 알았다. 즉 음들이 2~3개가 집합하여 하 층위 구성성분인 ‘리듬소’를 이루고, 리듬소들이 2~3개가 집합하여 상 층위 구성성분인 ‘소리듬형’을 이르는 경우가 압도적으로 많았다. 즉 소리듬형이 강약주기박자를 생성한다는 것을 알 수 있었다. 이로 봐서 강약주기박자는 장단주기박자의 절반 시가를 이루는 일이 보편적이라는 것을 알았다. 이를 적용하여 한국전통음악의 여러 장단 유형에 나타나는 장단주기박자표와 강약주기박자표로 적는 방법을 제시하였고 지금까지 잘못 기보된 한국전통음악의 강약주기박자를 정리할 수 있게 되었다. 다시 말해서 한국 전통음악에 나타나는 여느장단(보편적인 장단)에 나타나는 장단주기를 강약주기박자로 적게 되면 흔히 두 개의 강약주기박자표로 적게 되는데 앞뒤가 대칭 구조로 된 장단에서는 장단주기의 절반이 되는 강약주기박자표 두 소절을 적으면 되고, 앞뒤가 비대칭 구조로 된 장단의 경우에는 두 가지 서로 다른 강약주기박자로 된 변박자 두 소절로 적게 된다. 이 이론을 적용하여 앞으로 한국 전통음악을 박자표로 적을 때 반드시 이것이 장단주기박자표인지 강약주기박자표인지 표기해야 박자를 바르게 해석할 수 있을 것이다. 그리고 한국전음악을 적은 악보에 박자표를 적을 때 장단주기박자로 적을 것인지 강약주기박로 적을 것인지 정하고 그것들은 장단 리듬 통사론에 의하여 어떤 박자표로 적을 것인지 검증하고 이를 바르게 적는 것이 바람직할 것이다. As many of other traditional music shares similar quality in this particular matter, traditional music of Korea is not written in such way where they notify detailed articulations and dynamics. Rather, they simply show types of ‘jangdan’(rhythmic pattern) that the music supposed to be perform with. Recently, many musicians have tried to write out traditional music that is being transmitted orally with the use of western notation. But even when these western notational method is being used, many musicians intentionally write out a type of ‘jangdan’ when designating the rhythmic pattern of the piece prior to the ‘time signature’. In this paper, I have attempted to find out what the major difference between the two systems, ‘jangdan’ and ‘time signature’ is and how these two represent differentiated meaning within the score. First, I felt the need of treating these two different terms - ‘jangdan’ and ‘time signature’ - separately from each other. In order to separate these two concepts, I have used two terms ; ‘rhythmic cyclic pattern’ for designating the beat that is being made due to the cyclic patterns of grouped rhythm which is being used throughout the piece, and ‘rhythmic pattern signature’ for the time signature that is being used to refer the signature for the grouped rhythmic cyclic pattern. On the other hand, there are comparative two terms, related with western notational system which are; ‘dynamic cyclic pattern’ for designating the ‘time signature’ that is being used throughout the score in the western notational system and ‘dynamic pattern signature’ for the signature indicating such pattern. So far, these terms have been used without any distinction due to the lack of particular theory that supports the difference in the usage of these terms. I have written the ‘jangdan’ theory for many years, which specifically deals with the ‘synthetic constitution of the rhythmic hierarchy structure’ in relation to the ‘rhythmic cyclic pattern’ that is composed by the former. The key point of the ‘jangdan’ theory is that, there are three major groups consisting the music. The first, and the smallest unit is ‘small rhythm’ that is composed with two to three small notes. This is the lower level rhythm, the ‘basic rhythmic unit’ of music. When two to three of these ‘small rhythm’ are being combined, it makes ‘small rhythmic pattern’, the medium level rhythm. Finally, when two to three of these ‘small rhythmic pattern’ are combined, it produces the ‘grouped rhythmic cyclic pattern’, which is the last and the upper level of the rhythm of the rhythmic hierarchy structure. In this paper, I have tried to specify these rhythmic structure and its synthetic constitution, and its adaptation in scoring the traditional music in the western notational system. In this paper, I have concluded that the rhythmic structure of traditional music and western style music differ in the composition of its rhythmic cyclic pattern. While the traditional music is consisted with three layers of rhythmic structures which are ‘small rhythm’, ‘small rhythmic pattern’ and ‘common rhythmic pattern’, the western style music only have two layers that are ‘small rhythm’ and ‘small rhythmic pattern’. In the western style music, the ‘small rhythmic pattern’ is the key unit that produces the ‘dynamic cyclic pattern’, which in other words, is represented as ‘time signature’ in the score. In this view, we can say the western ‘time signature(dynamic cyclic pattern)’ has half the length of ‘grouped rhythmic cyclic pattern’, that is found in the traditional musical score. I hope this could be used when clarifying the rhythmic pattern and related matters found in the traditional Korean music compared to that of western music. In the actual scores, I would like to suggest two ways in its adaptation; In case of the ‘jangdan’ which is composed with symmetrical structure, two grouped ‘dynamic cyclic pattern(time signature)’ can be put together and regarded as one ‘jangdan’. When the ‘jangdan’ is consisted asymmetrically, it can be interpreted by putting two different time signature together as one passage. When writing down the Korean traditional music in the western notational system, I would like to suggest to clarify whether the score is written using the ‘rhythmic cyclic pattern’ or the ‘dynamic cyclic pattern’(western time signature). I also would like to address that these matters need to be dealt more prudently.

반복하중을 받는 해양 실트질 모래의 응력기반 파괴기준

류태경,김진만 한국지반공학회 2015 한국지반공학회논문집 Vol.31 No.11

An experimental study has been conducted to evaluate the effects of average and cyclic shear stresses on the undrainedfailure behaviors of dense marine silty sand by using the Cyclic Direct Simple Shear apparatus. The results show thatwhen the average shear stress ratio is zero, symmetric cyclic shear deformation is the major component of deformation,and permanent shear deformation is relatively small. On the other hand, when the average shear stress ratio is largerthan zero, asymmetric permanent shear deformation is the major component, and cyclic shear deformation does notchange much as the number of cyclic loads increases. The average shear stress ratio has less effects on the numberof cyclic loads needed to fail, as compared with the cyclic shear stress ratio. The proposed stress-dependent failurecontour can effectively be used to assess the cyclic shear strength of soil beneath the foundation for the design ofoffshore structures.

구조용단열패널의 정적가력과 반복가력 성능 평가

나환선 ( Hwan Seon Nah ),이현주 ( Hyeon Ju Lee ),최성모 ( Sung Mo Choi ) 한국복합신소재구조학회 2013 복합신소재구조학회논문집 Vol.4 No.1

Structural insulated panels, structurally performed panels consisting of a plastic insulation bonded between two structural panel facings, are one of emerging products with a viewpoint of its energy and construction efficiencies. These components are applicable to fabricated wood structures. In Korea, there are few technical documents regulated structural performance and engineering criteria in domestic market. This study was conducted to identify fundamental performance of both monotonic load and quasi static cyclic load for SIPs in shear wall application. Static test results showed that maximum load was 44.3kN, allowable shear load was 6.1kN/m, shear stiffness was 1.23 M N/m, and ductility ratio was 3.6. Cyclic test was conducted by two kinds of specimens : single panel and double panels. Cyclic test results, which were equivalent to static test results, showed that maximum load was 45.42kN, allowable shear load was 6.3kN/m. Furthermore the accumulated energy dissipation capability for double panels was as 2.3 times as that for single panel. From performance of structural tests, it was recommended that the allowable shear load for panels was at least 6.1kN/m.

A CLASSIFICATION RESULT AND CONTACT STRUCTURES IN ORIENTED CYCLIC 3-ORBIFOLDS

Ganguli, Saibal Korean Mathematical Society 2018 대한수학회논문집 Vol.33 No.1

We prove every oriented compact cyclic 3-orbifold has a contact structure. There is another proof in the web by Daniel Herr in his uploaded thesis which depends on open book decompositions, ours is independent of that. We define overtwisted contact structures, tight contact structures and Lutz twist on oriented compact cyclic 3-orbifolds. We show that every contact structure in an oriented compact cyclic 3-orbifold contactified by our method is homotopic to an overtwisted structure with the overtwisted disc intersecting the singular locus of the orbifolds. In course of proving the above results we prove a classification result for compact oriented cyclic-3 orbifolds which has not been seen by us in literature before.

슈만의 가곡에서 나타나는 조성의 순환관계: 《시인의 사랑》Op.48의 전조과정을 중심으로

김자경 연세대학교 음악연구소 2015 음악이론포럼 Vol.22 No.1

본 논문에서는 슈만의 연가곡 《시인의 사랑》Op.48에서 나타나는 조성의 순환을 전조의 관 점에서 살펴보았다. 연가곡의 조건인 단일조성이나 주제적 동기의 반복에 의한 음악적인 순환 및 일관성 있는 시적 내용이 있어야 한다는 두 가지 조건에서 볼 때, 슈만의 연가곡 《시인의 사랑》은 일관적인 시적 내용이 부족하지만 조성적 순환과 악곡간의 유기적 관계가 잘 나타나고 있다. 그리하여 본 논문에서는 첫 번째, 악곡과 악곡을 연결해주는 방법과 개별 악곡 내에서 나타나 는 다양한 전조방법을 통하여 음악적 문맥을 더욱 명확하게 하였다. 두 번째, 연가곡 전체의 조성구 조와 개별 악곡의 조성구조의 유기적 관계를 살펴보았다. 슈만의 연가곡 《시인의 사랑》의 개별 악곡은 단일 조성구조와 장단조 혼용 조성구조로 구분할 수 있었다. 악곡 간의 연결에서는 으뜸화음으로 시작하고 으뜸화음으로 끝나는 유형(T-T/T-T″)인 닫힌 형식 악곡과의 연결 및 으뜸화음으로 시작하지 않고 으뜸화음으로 끝나는 유형(X-T/X-T′), 으뜸화 음으로 시작하지 않고 으뜸화음으로 끊나지 않는 유형(X-Y)인 열린 형식 악곡과의 연결로 구분하여 전조방법을 살펴보았다. 악곡 간의 전조는 5도권조(버금 딸림조와 딸림조)와 3도권조(관계 장단조, 가온조, 버금 가온 조)인 근친조에 국한되어 온음계적 전조 및 반음계적 전조, 이명동음적 전조가 나타났다. 개별 악곡 에서는 근친조 및 원격조의 범위에서 온음계적 축화음 전조, 장단조 혼용화음 및 변화화음, 딸림화 음의 기능을 하는 2차적 화음인 부 딸림화음의 반음계적 축화음 전조와 이명동음적 축화음 전조, 동형진행적 전조 등의 전조방법이 나타났다. 또한, 연가곡 전체와 개별 악곡의 화성구조가 같고 전 조를 통한 조성방법이이 유사하다는 점을 통하여 연가곡《시인의 사랑》에서 나타나는 유기적 관계 를 찾을 수 있었다. This article aims to analyze the tonal organization of Schumann's song cycle, Dichterliebe op.48 with emphasis on its various modulations. As the attributes of a ‘song cycle' include; 1) a single tonality and musical organization by repetition of thematic motive, 2) unifying features such as recurring motive or consistency deriving from a coherent poetic context, the analysis Schumann’s work can be made by its features. One can conclude that though the poetic contents of Schumann's song cycle Dichterliebe op.48 may lack consistency, it is apparent that the closely related keys of its individual songs form a cyclic relationship, and the songs are connected through various modulation techniques. The focus of this article lies on enlightening the musical context of Dichterliebe op.48, by analyzing how connections are made between musical pieces, as well as observing various modulation techniques manifested in each piece. Another focal point that should be recognized in this paper is the organic relation formed in the song cycle by its individual songs. This was elaborated by examining the relations between the tonal organization of each separate song and that of the entire song cycle. This article categorizes the individual songs consisting Dichterliebe op.48 into two structures, one being 'a single tonal structure' and the other referred to as 'a mode mixture tonal structure'. For further scrutiny, the paper has also divided the modulation methods by its form. The three categories are as follows: 1) the T-T(T-T") type: the song begins and ends with a tonic, 2) the X-T(X-T') type: the song begins with a tonic and ends with a parallel key of the tonic, 3) the X-Y type : the song neither starts nor ends with a tonic. The types of modulation revealed in Dichterliebe op.48 also varied. Modulations were progressed within limited boundaries, i.e. the Circle of Fifths (dominant and subdominant keys), the Circle of Thirds (related keys, median key, submedian key), and thus accordingly appeared in the form of diatonic modulation, chromatic modulation or enharmonic modulation. The modulation methods used to connect individual songs feature a limited range of keys-starting from relative keys to remote keys, as well as characterized by the use of diatonic pivot cords, mode mixture chords, Neapolitan chords, Augmented 6th chords, and chromatic pivot chord modulation using secondary dominant and enharmonic pivot chords. In addition, the use of chromatic common tone modulation for 3rd related keys and mode mixture chord for Neopolitan keys are noticeable within individual songs. Through this study, The organic relationship has been derived from thorough analysis of the song cycle, the analysis indicating that the tonal structure of each individual song and that of the song cycle are similar, and the modulation techniques applied are alike. Thus, these similar techniques and structure have resulted in creating a cyclic structure.

MIMO OFDM 시스템을 위한 향상된 채널 추정 기법

신명철,이학주,심세준,이충용,Shin Myeongcheol,Lee Hakju,Shim Seijoon,Lee Chungyong 대한전자공학회 2004 電子工學會論文誌-TC (Telecommunications) Vol.41 No.6

MIMO OFDM 시스템에서 comb형태의 훈련심볼을 사용하는 기존의 채널 추정방식은 가장자리 반송파 영역에서 채널 추정의 MSE(Mean Squared Error)가 큰 단점이 있다. 본 논문에서는 이러한 문제점을 해결하기 위해 순환구조를 갖는 comb형태 훈련심볼을 제안한다. 제안된 순환구조에서는 모든 종류의 comb 훈련심볼이 각 안테나로부터 순환 전송되며 수신 단에서는 각 comb 형태의 훈련심볼들을 이용해 채널을 추정한 후, MSE로부터 구해진 최적의 가중치를 곱함으로써 채널 주파수 응답을 추정한다 모의실험을 통해 제안된 방식이 기존의 comb 형태의 훈련심볼에 비해 높은 성능을 나타냄을 확인하였다. In MIMO-OFDM systems, conventional channel estimation techniques using comb type training symbols give relatively large mean squared errors(MSEs) at the edge subcarriers. To reduce the MSEs at these subcarriers, a cyclic comb type training structure is proposed. In the proposed cyclic training structure, all types of training symbols are transmitted cyclically at each antenna. At the receiver, the channel frequency responses that are estimated using each training symbol are averaged with weights obtained from the corresponding MSEs. Computer simulations showed that the proposed cyclic training structure gives more SNR gain than the conventional training structure.

Shakedown analysis of trusses under cyclic thermal load with temperature-dependent yield stress

S.Y. Leu,Y.H. Chen,K.C. Liao 국제구조공학회 2021 Structural Engineering and Mechanics, An Int'l Jou Vol.78 No.6

The paper aims to revisit shakedown analysis involving temperature-dependent yield stress. Formulations and numerical implementations are focused on truss structures subjected to cyclic thermal and constant mechanical loads. In particular, a systematic approach based on the duality relationship of l∞-norm and l1-norm is established to state the dual formulations for static and kinematic shakedown analysis of truss structures. Illustrative examples are involved statically indeterminate three-bar and five-bar trusses, respectively. Numerical effort is made to acquire shakedown limit temperature by using the linprog function provided by MATLAB. Furthermore, the finite-element analysis using ABAQUS is also performed for rigorous comparisons.

구조용단열패널의 정적가력과 반복가력 성능 평가

나환선,이현주,최성모 한국복합신소재구조학회 2013 복합신소재구조학회논문집 Vol.4 No.1

Structural insulated panels, structurally performed panels consisting of a plastic insulation bonded between two structural panel facings, are one of emerging products with a viewpoint of its energy and construction efficiencies. These components are applicable to fabricated wood structures. In Korea, there are few technical documents regulated structural performance and engineering criteria in domestic market. This study was conducted to identify fundamental performance of both monotonic load and quasi static cyclic load for SIPs in shear wall application. Static test results showed that maximum load was 44.3kN, allowable shear load was 6.1kN/m, shear stiffness was 1.23 M N/m, and ductility ratio was 3.6. Cyclic test was conducted by two kinds of specimens : single panel and double panels. Cyclic test results, which were equivalent to static test results, showed that maximum load was 45.42kN, allowable shear load was 6.3kN/m. Furthermore the accumulated energy dissipation capability for double panels was as 2.3 times as that for single panel. From performance of structural tests, it was recommended that the allowable shear load for panels was at least 6.1kN/m.

Mid-length lateral deflection of cyclically-loaded braces

Therese Sheehan,Tak-Ming Chan,Dennis Lam 국제구조공학회 2015 Steel and Composite Structures, An International J Vol.18 No.6

This study explores the lateral deflections of diagonal braces in concentrically-braced earthquakeresisting frames. The performance of this widely-used system is often compromised by the flexural buckling of slender braces in compression. In addition to reducing the compressive resistance, buckling may also cause these members to undergo sizeable lateral deflections which could damage surrounding structural components. Different approaches have been used in the past to predict the mid-length lateral deflections of cyclically loaded steel braces based on their theoretical deformed geometry or by using experimental data. Expressions have been proposed relating the mid-length lateral deflection to the axial displacement ductility of the member. Recent experiments were conducted on hollow and concrete-filled circular hollow section (CHS) braces of different lengths under cyclic loading. Very slender, concrete-filled tubular braces exhibited a highly ductile response, undergoing large axial displacements prior to failure. The presence of concrete infill did not influence the magnitude of lateral deflection in relation to the axial displacement, but did increase the number of cycles endured and the maximum axial displacement achieved. The corresponding lateral deflections exceeded the deflections observed in the majority of the previous experiments that were considered. Consequently, predictive expressions from previous research did not accurately predict the mid-height lateral deflections of these CHS members. Mid-length lateral deflections were found to be influenced by the member non-dimensional slenderness (λ) and hence a new expression was proposed for the lateral deflection in terms of member slenderness and axial displacement ductility.

A Cyclic CMOS Time-to-Digital Converter

Choi, Jin-Ho,Kim, Ji-Hong The Korea Institute of Information and Commucation 2007 Journal of information and communication convergen Vol.5 No.2

A CMOS TDC(time-to-digital converter) is proposed which has a simple cyclic structure. The proposed TDC consists of pulse-shrinking elements, D latches and D flip-flops. The operation is based on pulse-shrinking of the input pulse. The resolution of digital output can be easily improved by increasing the number of the pulse-shrinking elements, D latches and D flip flops. The TDC performance is improved in viewpoints of power consumption and chip area. Simulation results are shown to illustrate the performance of the proposed TDC circuit.