지하직재문학소고(志賀直哉文學小考) : 「 성의 기에서(城の崎にて)」 를 중심으로

신은주 한국일어일문학회 1985 日語日文學硏究 Vol.7 No.1

서울의 이방인, 그 주변 - 이양지, 「유희(由熙)를 중심으로」

신은주 한국일본근대문학회 2004 일본근대문학 - 연구와 비평 - Vol.3 No.-

  「由熙」は、在日韓?人女性の母?留?失敗談として?まれていて、作品論も、母?に?する理想と現?の乖離からくる精神的?裂と言語面での違和感の??を、由熙を中心に論じているのがほとんどである。しかし、韓?語と日本語の二つの言語領域が交差するテキストの特?と語り手〈私〉の特徵に注目すると、「由熙」は、回想するㆍ語るという行?を通して由熙の物語、由熙の存在性が語り手自身に還元される課程を描いた小?として?むことができる。「ウリ」という韓?社?の共同?において自らの他者性を自?せざるをえなかった由熙は、「ウリ」からの離?を選んだ。同一性共同?といわれる韓?と日本。そのどちらにも敢えて他者意識を持ちつづけた作家李良枝は、共同??部の抑?性と?構性をいち早く見?いたに違いない。韓?と日本という二者??ではすでに自らのアイデンティティ?を確立することができなくなった在日2世ㆍ3世を代表する存在であり、さらにアイデンティティ?そのものが?籍や言語によって限定きれることを自ら否定する文化的ディアスポラを象?する存在でもある作家李良枝は、越境と離散が?大する現代において「共に生きる」ことの新しい可能性を「由熙」をとおして描いてみせているのである。

국악에서 종지음과 주음(궁)의 관계에 대한 논의

신은주 한국국악학회 2022 한국음악연구 Vol.72 No.-

In the analysis of traditional Korean music, the concept of cadence has been explained as “cadential patterns” rather than “ending notes” or finalis. Concentration on the finalis instead of cadential patterns seems to be a result of analysing Korean traditional music from the viewpoint of modes. For a mode refers to the structural relationship between notes, plus the concept of the keynote or central note(tonic), where the explication of the function of each note is crucial. Most important is to clarify what the tonic is. The concept of finalis has thus been highlighted. One of the advocate of the doctrine of finalis-as-the-keynote is Kim Young-woon, who defines a keynote as “the ending note of a piece of music.” Kwon Oh-sung, Kim Uoo-jin and Cho Young-bae’s “finalis(keynote)” or “ending note(boncheong)” are in the similar vein. They identifies the ending note of a piece as the keynote or boncheong, restricting their use to limited musical genres or mentioning them in relation to the structural relationships between notes, though. Meanwhile, Baek Dae-ung maintains that the boncheong does not always conclude a piece, while acknowledges that the finalis is the decisive note for a mode. On the other hand, Hwang Jun-yon clearly denies the status of the keynote to the finalis. He suggests that the idea that identifies the finalis as the keynote be reexamined, for though most pieces end on the keynote(gung), there also are nonignorable numbers end on notes other than the keynote, after thoroughly exploring practically all the musical pieces from the Joseon Dynasty through the extant traditional music. Other researchers including Oh Yong-rok, Lee Bo-hyeong and Choi Heon also argues that the ending note of a piece is not constrained to a single note, but various notes can conclude a piece, and the keynote is not exclusively defined as the finalis. The cadential patterns have been very important in the analysis of the traditional music. Besides Korean traditional music, Music in general tends to construct some cadential patterns utilizing notes from the basic scales, where the ending note is considered the most stable one, that is, the keynote of the scale. It is questionable, however, whether the same is true in Korean traditional music: whether the finalis can unexceptionally be identified to the keynote, and whether pieces unanimously end on the keynote regardless of the musical genre they belong to. In Korean traditional music, there are plenty of pieces not ending on notes other than the keynote(cheong or gung). Two or more notes can be used as ending notes of a whole piece and its sections even in one and the same piece, and there even exist no literal endings in folk songs like working songs. What the significance of the doctrine of finalis-as-the-keynote can be, if there exist pieces not ending on the keynote, even though it is mostly the case? The more the pieces not ending on the keynote, the more confusion the doctrine of finalis-as-the-keynote could bring about into our understanding of music. The issue of ending notes has been important in analysing Korean traditional music because identifying the keynote or tonic has been regarded essential in determining the modes of musical pieces. Nevertheless, it is important to note that the idea that identifies the ending note of a piece with the keynote, saying that “the cadential patterns are directly related to tonality that allows stability of music,” “the ending note is crucial to tonal organization” or “it is the ending note that establishes the key of a piece,” applies better to Western tonal music. It is not easy to distinguish the keynotes in Korean music because one should take lots of factors into account. Reseachers identify different notes as keynote in one and the same piece, and there are even pieces that seem to have two, not one, keynotes. While the dominance of the keynote generally means a stability or a stable destinati...

동시화된 포유세포에서 돌연변이원에 의한 자매염색분체 교환에 미치는 DNA 복제효소 저해제의 영향 ( Effects of Inhibitors of DNA Replication Enzymes on Sister Chromatid Exchanges Induced by Mutagen in Synchronized Mammialian Cells )

신은주,엄경일 한국환경성돌연변이발암원학회 1992 한국환경성돌연변이·발암원학회지 Vol.12 No.2

봄, 오래된 미래 : 멘델스존, 〈봄 노래〉(op.67-5), 〈노래의 날개 위에〉(op.34-2)

신은주 우리신학연구소 2023 가톨릭 평론 Vol.39 No.-

여름, 비 오는 날의 풍경 : 쇼팽의 〈전주곡〉, Op. 28중 15번, 〈빗방울〉

신은주 우리신학연구소 2021 가톨릭 평론 Vol.32 No.-

한국 민요 선법(토리)의 연구 성과 검토 및 논점

신은주 한국민요학회 2016 한국민요학 Vol.46 No.-

The theory of mode is very important for analyzing music. That’s why various different views are inevitably voiced among scholars and its discussion is required to be progressed carefully. In this study, discussion for the modes(tori) of Korean folk song being made quite recently was reviewed and its research status and future tasks were summarized. Confusion over two terms including ‘Jo’ and ‘tori’ signifying the modes of Korean folk song was taken place from the early stage of folk song research. At present, tori that is a term signifying several general features such as structure, weight, function, sigimsae of sound is in a process of being generalized. However, by each region, consensus over its name is required because as a method of defining tori name, a method of using region name and that of using typical regional folk song title are mixed. A full-scaled discussion over whether mutant tori should be defined by holding fast to and extensively utilizing ‘Gyeongtori, Susimgatori, Menaritori, Yukjabaekitori’ that were taken shape solidly at present is required to be developed now. Recently, regarding the modes of Korean folk song by each region, discussion over ‘appropriateness of typical tori’, ‘pitch of tone’, ‘materialization of mutant tori and its identity’ has been made actively. A research on the modes of Korean folk song had made significant progress among several scholars. However, a part to be researched still remains and a work of generalizing and unifying different individual views as a study by making it as public opinion is urgently required. 음조직론은 음악을 분석하는 데 있어 매우 중요한 이론이다. 때문에 여러 이견들이 있을 수밖에 없고, 논의를 전개하는 데 있어 신중해야 한다. 본고는 2000년 이후 비교적 최근에 이루어진 민요 선법(토리)과 관련한 연구들을 검토하고, 중요한 몇몇 논점들을 정리하여 보았다. 한국 민요 선법을 지칭하는 용어로 ‘조(調)’와 ‘토리’라는 두 용어의 혼란이 민요 연구 초창기부터 있었으되, 현재는 음구조․음비중․음기능․시김새와 같은 여러 총체적 특성을 지시하는 용어인 ‘토리’가 보편화되는 과정에 있다. 다만, 각 지역별 세부 토리명에 대한 합의가 필요한데, ‘경토리’와 같이 토리라는 말 앞에 지역 명칭을 넣을 것인지, 수심가토리․메나리토리․육자백이토리 등과 같이 그 지역의 대표성을 지니는 곡명을 사용한 것인지, 현재 거의 굳어진 ‘경토리, 수심가토리, 메나리토리, 육자백이토리’를 고수하고, 이를 적극 활용하여 변종 토리를 지칭할 것인지 등에 대한 논의를 본격화시켜야 한다. 각 지역 민요 선법에 대해서는 ‘대표 토리의 적절성’, ‘토리 구성음의 음고’, ‘변종 토리의 구체화 및 정체성’에 대한 논의들이 최근 활발하게 이루어졌다. 한국 민요 선법에 대한 연구는 그간 여러 학자들에 의해 많은 진전이 있었다. 그러나 여전히 논의되어야 할 부분들이 남아있고, 각각의 서로 다른 주장을 공론화하여 학문으로서 보편화시키고 통일화하는 작업들이 시급하다. 향후 이에 대한 활발한 논의가 이어지기를 기대한다.

국악에서 종지음과 주음(궁)의 관계에 관한 논의

신은주,임혜정 한국국악학회 2022 한국국악학회 학술대회 Vol.2022 No.09

20세기 전반 판소리 여류명창 조농옥의 음악 고찰

신은주 한국국악학회 2016 한국음악연구 Vol.60 No.-

20세기 전반 여성 음악가의 양산은 남자 음악인들을 중심으로 이루어지던 전통 예능의 판도를 바꾸어 놓았다. 그러나 여성 음악가들이 전통 예술의 한 축으로서 활약하며 음악문화를 이끌어 나갔음에도 불구하고, 오늘날 이들 20세기 전반 여성 음악인에 대한 평가는 제대로 이루어지지 않고 있다. 본고의 대상인 조농옥 역시 20세기 전반 음반, 공연, 방송 등에서 활발히 활동하였던 판소리 여류 창자의 한 사람임에도, 1950년대 비교적 이른 시기에 음악 활동을 접어 오늘날 잘 알려져 있지 않다. 더구나 본명에서부터 출생지․소리 입문 과정․음악 활동 등과 관련한 잘못된 정보가 지속적으로 반복 인용되었던 바, 필자가 이에 대해 선행 연구를 통해 바로잡았다. 본고는 이에서 더 나아가, 조농옥이 남긴 음원을 대상으로 그녀의 소리 계보 및 음악 특성을 고찰하였다. 조농옥이 남긴 음원의 사설과 노래 선율을 그녀의 스승으로 언급되고 있는 송만갑․정정렬․이동백 및 여타 다른 유파의 소리와 비교한 결과, 조농옥의 흥보가․수궁가․심청가는 송만갑의 소리를, 춘향가와 적벽가는 정정렬의 소리를 잇고 있다. 그러나 음악적으로는 송만갑 및 정정렬이 남긴 음반과 비교하여, 선율 흐름의 큰 골격은 유사하되 조금 변화된 형태를 띠거나, 아예 다른 선율로 소리하기도 한다. 특히 수궁가 중 <토끼화상> 대목의 경우, 사설은 송만갑과 거의 일치하되, 우평조로 소리하는 송만갑과는 달리 조농옥은 계면조로 소리하고, 선율의 진행도 송만갑보다는 동시대 활동하던 여느 창자들 및 오늘날 판소리 창자들의 <토끼화상>과 통하는 측면을 보여, 스승에게서 배운 그대로가 아닌 당시 유행하던 소리를 습득하여 음악적인 면에서 자신의 소리를 변화시켰다고 하겠다. 그리고 대체적인 조농옥의 음악적 특징은 도약진행과 1자수음식 진행, 장식음과 시김새, 리듬 변화를 통하여 결코 단순하지만은 않은 비교적 화려한 음악을 구사하되, 송만갑보다는 화려하고 정정렬에 비하여는 오히려 간결한 그 중간적인 입장을 취하고 있다. Mass appearances of female musicians in the first half of the 20th century changed the landscape of traditional arts having mainly been made by male musicians. However, evaluations on female musicians in the first half of the 20th century have not been carried out properly these days, even though female musicians have led music culture while having been active as an axle of traditional arts. Cho, Nong-Ok, a female master singer of Pansori is one of female singers who actively worked in record sales, theatre performance, and radio broadcast etc as object of this research. Nonetheless, she is not well known nowadays because she gave up music activities in comparatively early 1950s. In addition, wrong information such as her real name, birth place, motives of becoming to learn Pansori, music activities have been quoted continuously. Thus, researcher modified wrong records on Cho, Nong-Ok through a preceding research. This study considered her sound genealogy and music characteristics by objecting records that had been left by Cho, Nong-Ok. Song lyrics and melody of Pansori sound source having been left by Cho, Nong Ok were compared with those of Song Man-gap, Jeong Jeong-ryeol, Lee Dong-bak, and others. As a result, Heungboga, Suggungga, Simcheongga of Cho’ Nong Ok’s Pansori follows that of Song Man-gab, and also Chunyangga and Jeokbyeokga is connected with Pansori of Jeong Jeong-ryeol. In music characteristics, sigimsae or buchimsae is a little monotonous compared to Pansori of Jeong Jeong—ryeol. However, her songs are making use of comparatively splendid music which are not simple at all through progressing that arranges several sounds to one letter of song lyrics together with skips, grace, sigimsae, and rhythm changes. Furthermore, her songs assumes a little changed form or sings with other melody instead, even though a large skeleton of melody is alike after comparing with Pansori having been left by Song Man-gab and Jeong Jeong-ryeol. That is, she seems to make her own melody by digesting with own music after having learnt Pansori, rather than just singing teachers’ teaching. Specially, in case of the section <Tokki Hwasang (painting portrait of rabbit)>.among Sugungga, song lyrics are almost matched with that of Song Man-gab, but Cho, Nong-Ok sings it with gyemyeongjo instead of woopyeonggjo tone of Song Man-gab. In melody progressing, she shows aspects of connecting with <Tokki Hwasang> by recent Pansori singers together with any Pansori singers who were active in the same age rather than Song Man-gab’. Resultantly, Cho, Nong-Ok could be said as changing own Pansori after having mastered music style of popular music at that time, not the same song having been learnt from her teachers.

금강 풀룸의 구조와 분포에 대한 수치모델 연구

신은주,이상호,최현용 한국해양학회 2002 바다 Vol.7 No.3

연속적으로 방출되는 금강 담수에 의해 형성되는 풀룸(plume)의 구조와 분포를 시험하기 위해 전향력과 조석의 유무에 따른 3차원 수치모델 실험을 하였다. 조석없이 전향력이 포함된 경우 모델풀룸은 발달단계에서 남수로 북쪽에 시계방향 순환을 형성한다. 풀룸 확장이 진행되면 순환중심이 남서쪽으로 이동하며 남수로 입구에서부터 남서쪽으로 저염수의 유출 축 방향이 편향된다 이러한 결과는 외해의 강한 염분전선 때문에 하구입구 전방에서 누적되는 저염수에 의해 유지되는 해면경사에 의한 순압적 지형류 균형으로 설명된다. M$_2$분조를 포함하는 경우에는 모델풀룸이 북서쪽으로 멀리 확장하여 큰 혀모양의 염분분포를 이룬다. 외해역 풀룸의 조석주기 평균된 표층흐름은 주로 지형류 균형을 이룬다. 이러한 풀룸분포의 변화는 하구입구 외측에서 저염수를 북쪽으로 공급하는 조류이동에 의한 저염수 이류와 풀룸을 따라 평균해면을 높이고 북쪽 천해연안역 표층염분을 증가시키는 활발한 조류혼합에 의한 것으로 설명된다. 관측된 금강 풀룸의 주된 형태(Lee et at., 1999;최 등, 1999)는 하구 입구역에서부터 풀룸 축이 북서쪽으로 편향되고 북쪽으로 풀룸 두께가 깊어지는데 이러한 특징은 조석이 포함된 모델에서 잘 재현되었다. To examine the structure and distribution of the Keum River plume produced by continuous river discharge we carried out three-dimensional numerical model experiments with or without Coriolis force and tide. When Coriolis force is included but tide is not the model plume forms the clockwise circulation north of southern channel in the developing stage. As the plume expansion progresses the center of circulation moves to the southwest, with fuming the discharging axis of low-salinity water to the southwest from the mouth of southern channel. These results are explained mainly in terms of barotropic geostrophy by surface slope maintained with accumulated low-salinity(buoyant) water in front of the estuary mouth due to of offshore strong salinity front. When the M$_2$ tide is included the model plume extends farther to the northwest, forming large tongue-like salinity distribution. The tidally averaged surface flows of the offshore plume are mainly in geostrophic balance. These changes in plume distribution are explained in terms of low-salinity water advection by tidal excursion and active tidal mixing; the former supplies low salinity water to the north off the estuary mouth and the later increases mean sea level along the plume and surface salinity in northern shallow coastal area. The main features of observed Keum River plume(Lee et al., 1999; Choi et al., 1999), which showed the northwestward deflection of the plume axis and northward deepening of the plume thickness from the estuary mouth region, are well reproduced by the model in which tide is included.