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퍼지-뉴럴 네트워크를 기반으로 한 이상진단 프로그램의 개발
박제현,김영진 경희대학교 산학협력기술연구원 2002 산학협력기술연구논문집 Vol.8 No.-
An automation process is implemented in the manufacturing and production system nowadays due to the progress in the technology which utilizes the Artificial Intelligence methods. Here, the Artificial Intelligence supervises various level of processes ranging from the work of the machines to the detection of malfunction of the system. Especially, in the realm of malfunction detection, the diagnostics of faults in the Bearing system is very important since most of the machinery is consist of rotating parts and the bearings is the key element in the system. Due to the malfunction in the bearing system, the whole machine can quit and cause an economical loss and hazardous situation. Then, it is utmost important to identify early the malfunction of the bearing system though the diagnostic system. In this paper, we develop an algorithm to diagnose the malfunction of the system by digital computer. In this algorithm, a pre-processor is developed to classify the fuzzy clusters of the sample data though the neural network method. Also, the fuzzy rule based system is implemented to identify the cause of the failure. Using these methods, we develop a fuzzy-neural diagnostic system for the learning system.
朴弟賢 全北大學校 師範大學 1982 사대논문집 Vol.8 No.-
Nationalism in Norway is represented by E. Grieg. He attenped to introduce much coloured Norwegian national character; such national characteristics as they possess are ruperimposed on an orthodox style which Grieg learned in youthful studies at the Leipzig Conservatory. He was deeply influenced by F. Chopim and his successor Norwegian composer Rikard Nordaak. His four movrment's piano sonata in e minor op 7. was important work and was composed in 1865. The sonata in e minor is constructed on a classic sonata form. Ist movements is composed of the classic sonata form, and 2nd movement is free form, and 3rd movement is compound tenary form, and 4th movement has short introduction and coda in sonata form. His Piano style, with its delicate grace notes and mordents, owes something to Chopin, but the all-pervading influence in his music is that of Norwegian fork songs and dance. These national characteristics blend with Grieg's sensitive feeling for Romantic harmony in a personal, poetic music that has not lost its freshness.
朴弟賢 全北大學校 師範大學 1983 사대논문집 Vol.9 No.-
The French musical renaissance is usually dated from 1871, with the foundation at the end of the France-Prussian War of the National society for French Music. The situation is France in the first quarter of the twentieth century presents a mixture of tradition, impressionism, and anti-impressionism. Three main lines of development-interdependent, naturally-may be traced in the history of French Music from 1871 to the early year of the twentieth century. M. Ravel was a typical member of the so-called third generation of French musicians which came after the second generation which was led by such Composers as Faure´ and Debussy which in turn had succeeded Frank, Gounod and other first generation musicians. M. Ravel adopted some of the impressionist technique, this never overcome his basie affinity for the clean melodic contours, distinct rhythms, and firm structures of Classicism. His harmonies while complex and sophisticated, are functional, not only pictorial and impres sionistic like some of Debussy's. Especially he created Spanish style works and kept nostalgia for Spain through all his life affected strongly by his mother's blood. His most markedly impressionistic work for piano is the 'Jeux d' eau' which was composed 1901. 'Jeux de´au' resembles in form to classic Sonatas. But its introduction and use of themes are widely different from what are discernible in classic sonatas. The basic harmonies and sonic pattern determine more than the whole structure of the work does the basic characteristics of 'Jeux de´au'. To a large extent the task of Ravel was to work out new concepts of, or find an adequate substitute for, tonality and to reconcile with new harmonic idioms the other musical elements of instrumentation, counterpoint, rhythm, and form.
슈만의 浪漫主義的 特性과 技法 : Op 22를 中心으로
박제현 全北大學校 敎育大學院 1992 敎育論叢 Vol.12 No.-
Schumann's music was greatly affected by outside influences. His thinking and compositions showed the influence of many great romantic poets, but he was particularly indebted to the novelists, Jean Paul Richter. In the early 1830's he represented a reaction against the worship of form for its own sake. Schumann's spontaneity and fantasy-like originality reigned supreme in his compsitions during these years. In the late 1830's and 1840's his subjective approach gradually became more objective. This is not to say that he did not revert to his earlier subjectivity in some of his later compositions, for his compositional style did not follow any unbroken chronological order. As a result of his study of the works of other composers and of counterpoint in particular, he became more aware of the need for more careful planning and revision in his own pieces. He placed the greatest importance on the communication of his poetic, idealistic feelings through music and not on the structure which was used as his means of communication. In spite of this emphasis, he beleved his sonata should possess a solid structure. Schumann attempted to create a synthesis of romantic and classical traits in his sonata op 22. Opus 22, being the most concise of his three sonatas, was his most successful attempt of the use of sonata form. In his second sonata op 22, he imaginatively combined the sonata form with his own original romantic style.