18세기 중반 영국의 건반악기 음악에 관한 연구 : 토머스 안(Thomas Augustine Arne)의 건반악기 소나타와 건반악기 콘체르토를 중심으로

신혜승 이화여자대학교 음악연구소 2005 이화음악논집 Vol.9 No.-

The mid-eighteenth century was one of the most prosperous periods in the entire history of western music. Before the musical practice of the new Classical period completely replaced that of the Baroque period, a considerable amount of overlapping of two practices occurred, in forms, characters, and styles. Composers of this period had access to forms of both the Baroque and the Classical periods. The variety created by the use of different forms provided heightened excitement and pleasure for the audience. Under the influence of the Enlightenment, simple and natural music was preferred. The elegant and aristocratic elements of the Rococo, as well as the contrapuntal forms of the Baroque all coexisted in this period. Thomas Augustine Arne (1710~1778) was one of the most prominent composers of the eighteenth century in England who was also an active violinist and keyboard player. He played an important role in the development of theatre music. Although his instrumental composition was not of significant quantity, his exploration of various forms such as overture, sonata, symphony, and keyboard concerto contributed to the formation of genre for instrumental music in the Classical period. His instrumental music exhibits a style that is transparent, clear and of pure musical expression. Arne's keyboard works, Ⅷ Sonatas or Lessons for the Harpsichord (1756) and Six Favourite Concertos for the Organ, Harpsichord, or Piano Forte with Instrumental Parts, for Public and Private Concerts (1793) were of marked historical importance because they conveyed the simplicity of Viennese Classical music. Although Arne never traveled outside his homeland, he captured the flavors of different forms from other countries as well: French overture, lyrical Italian Adagio, and contrapuntal German style all appear in his works. As a patriot, he was fond of English melodies, style of the voluntary and the theme and variations form. In the mid-eighteenth century, London became a centre for musical exchange as her culture and social system began to expand and strengthen. The active musical environment of London enabled composers to free themselves from the support of the Court or the Church. Accordingly London became an important centre for many composers of the continent, who either moved to, or traveled to London to produce many works or for musical performances. The following were continental composers who pursued their musical careers in England: Francesco Geminiani (1687~1762), Giuseppe Sammartini (1695~1750), Giovanni Battista Pescetti (1704~1766), Baldassare Galuppi (1706~1785), Pietro Domenico Paradisi (1707~1791), Domenico Alberti (1710~1740), Vincenzo Legrenzio Ciampi (1719~1762), and Mattia Vento (1735~1776), who were Italian-born composers who played important roles in the development of English keyboard music. Johann Adolph Hasse (1699~1783), John Christian Mantel (1706~1761), Johann Christian Bach (1735~1782), George Berg (1730~1775) of Germany, Georg Christoph Wagenseil (1715~1777) of Austria and Johann Joachim Agrell (1701~1765) of Sweden also worked in London, adapting the music of diverse cultures and passing their own to others. The important keyboard composers of Britain at this time were Richard Jones (late 17th century~1744), Maurice Greene (1696~1755), Thomas Chilcot (1700~1766), Henry Burgess Jr.(fl. c1740), Joseph Kelway (1702~1782), William Hayes (1708~1777) John Stanley (1712~1786), William Felton (1715~1769), James Nares (1715~1787), Richard Mudge (1718~1763), Charles Burney (1726~1814), John Jones (1728~1796), John Burton (1730~1782), Elisabetta Gambarini (1731~1765), and Philip Hayes (1738~1797), who were mostly competent harpsichordists and organists. Although they were not considered to be among the well-known composers in the history of western music, their contribution to music should not be ignored, as they adapted various forms and incorporated them in their works. Thomas Arne accepted the new while keeping the old, and the refinement and creativity displayed in his keyboard works greatly influenced his contemporaries. His keyboard works were typical and yet valuable examples of compositions written in the period between the Baroque and the Classical eras.

디지털 음악학: 새로운 공간, 새로운 관계 맺기 -보존에서 창조로-

신혜승 세계음악학회 2022 음악과 문화 Vol.- No.47

Musicologists who read, analyzed, and discussed sheet music and literature were given a new tool: digital technology. In musicology research, a new environment of study has been opened where new research methods and attempts can emerge. In order to explore what kind of music research can be derived under the digital environment, I first looked at the concepts and cases of digital humanities. Based on this, we discussed what kind of digital music research has been conducted so far and connected it with cases of digital musicology. Digital musicology can be defined as a concept that encompasses various research topics, scope, and methods, as well as innovation in the method of research and education in musicology. For example, in digital musicology research, you can visualize the data, show the network, and analyze them so that the relationship can be easily understood. In addition, it is possible to provide a vivid sense of presence of music as an auditory art while storytelling by connecting information and materials in space and time. In this respect, digital musicology will be positioned not only as an academic achievement but also as a new way for the public to enjoy culture. Digital musicology will have cultural potential that can be used in various fields, and through this, the meaning and role of musicology will be further expanded. .

역량기반교육에 따른 대학 골프학과 교과과정의 분석과 전환

신혜승,신민혜 한국골프학회 2017 골프연구 Vol.11 No.1

[목적] 본 연구는 역량기반교육에 따른 대학 골프학과 교과과정에 반영되어야 할 형식과 내용이 무엇인지 살펴보 는데 목적이 있다. [방법] 이를 위해 문헌분석과 동료검토, 전문가검토를 통해 골프학과 교과과정과 역량에 대한 개념을 비교·분석하고 전문가 협의를 과정이 포함된 다각도분석법(triangulation)을 실시하여 교과과정-역량의 연 계성을 분석하였다. [결과] 연구의 결과 골프학과 교과과정이 대체적으로 ‘교양 및 전문학습 역량’ 함양에 초점이 맞추어져 있는 것으로 나타났다. 각 역량의 표기 합계는 ‘교양 및 전문학습(40회)’, ‘전공실기(14회)’, ‘대인관계(10 회)’로 나타났다. 따라서 미래 사회에서의 필요역량을 함양할 수 있는 교육의 기회를 제공하고 학생들의 다양한 진로진출을 위한 역량기반의 골프학과 교과과정에 대한 대안을 제시하였다. [결론] 첫째, 교과목의 목표와 취지에 따른 실제적이며 올바른 시행으로의 변화이다. 둘째, 교과목에 따른 다양한 역량이 함양될 수 있는 교과과정 내 용의 개편이다. 셋째, 역량 개념에 대한 교수자의 올바른 이해이다. 즉 학습자들에 대한 역량-진로 교육도 중요하 지만 교수자에 대한 역량-진로 연계 교육이 함께 이루어졌을 때 역량기반교육의 내실화를 이룰 수 있을 것으로 판단된다. [Purpose] The purpose of the study was to explore the feasibility for application of competency education to the academic curriculum of the golf department. [Method] Literature review to list up golf curricula of five different colleges and compare their similarities and differences was performed at first and expert review followed to investigate what competencies each course contains. [Results] The results of the study show that the competency of ‘general education and golf academics’ was ranked the highest with 40 marks, the competence of ‘golf techniques’ with 14 below the top, and ‘interpersonal competency’ with 10 as the third. The others earned 1 to 5 marks. [Conclusion] The academic curriculum of golf, given the results of this study, needs to provide opportunities for golf students to acquire contemporary society-demand competencies that also help their job search and employment in diverse fields after graduation.

PCBs의 광화학적 연구: NaOH 및 휴믹산 (humic acid, HA)에 의한 분해특성

신혜승,김재현,Shin, Hae Seung,Kim, Jae Hyoun 한국환경보건학회 2014 한국환경보건학회지 Vol.40 No.2

Objectives: This study was carried out to examine whether the apparent photolysis with or without sensitizers [NaOH and humic acid (HA)] was prompted photodegradation of polychlorinated biphenyl (PCB) in aqueous solution. Methods: PCBs photodegradation occurred using fluorescence black lamps at ${\lambda}_{max}=300nm$. PCB congeners were exposed in 10 ppm HA or 0.05N NaOH solutions, to investigate the decreasing profile of PCB concentration with time. The PCBs were then analyzed by gas chromatography/mass spectrometry (GC-MS). Reductive degradation profile of PCB congeners in the presence of both sensitizers under oxygen-saturated protic conditions was described using the wind-rose diagrams. Results: Use of HA or NaOH decreased PCB concentration with time in the dark and on irradiation, indicating that photolysis underwent through reductive dechlorination through energy transfer and possibly with reactive oxygens. The dechlorination was marked by a chromatographic shift, observed in the GC-MS plots. Therefore it is logical to assume that increasing the dose of sensitizers would increase the photodegradation rates of PCBs. The half-lives of pentachloro-PCB (penta-3) in 0.05N NaOH and 10 ppm HA were estimated at about 47 hours and 39 hours, respectively, under the same experimental conditions of photolysis. It was found that the rate of photolysis of pentachloro-PCB in aqueous solution followed apparent first-order kinetics compared to other congeners. Conclusion: Photochemical degradation (using 328 nm UV light) of penta- and hexa-PCBs in HA or alkaline solution is a viable method for pretreatment method. The results are helpful for the further comprehension of the reaction mechanism for photolytic dechlorination of PCBs in aquatic system.

크반츠(J.J. Quantz)의 Versuch einer Anweisung die Flo¨te traversiere zu spielen과 Opera Seconda를 통해서 본 18세기 중반 음악의 이론과 실제

신혜승 이화여자대학교 음악연구소 2001 이화음악논집 Vol.5 No.-

Johann Joachim Quantz(1697-1773) who was a German famous flutist in eighteenth century acted as a composer and a author as well as flute maker. Quantz's works consist mainly of sonatas for flute and continuo, trio sonatas and concertos. In style they reflect the transition from a late Baroque to an early Classical idiom. In general Quantz's works reflect an modification of late Baroque style through increased use of repeated motifs within themes, simplification of harmony, slower harmonic rhythm and restriction of contrapuntal complexity. Quantz's autobiography and other writings are of considerable interest, but his most enduring contribution to the literature of music is unquestionably his Versuch einer Anweisung die Flo¨te traversiere zu spielen. This work presents a comprehensive programme of musical studies intended for use in conjunction with private lessons; only five of the 18 chapters are exclusively for flautists. The treatise is in three main parts. The first is devoted to performance on an individual instrument, moving from fundamentals to more advanced matters connected with ornamentation and style. The second consists of a review of the ‘duties’of the accompanying instruments and their leader. The last part surveys the characteristic of Italian, French and German Styles and the principal types of vocal and instrumental music, providing the student with a foundation for the evaluation of works he hears and plays. In the Versuch nearly all phases of performance, from phrasing, ornamentation and dynamics to the seating plan of an orchestra, are discussed. Quantz had models for certain portions of his work, but no similarly comprehensive manual had been attempted before. His detailed approach to mattes of performance influenced many later German writers on music, from C. P. E. Bach to D. G. Tu¨rk. While later authors explored particulars connected with their own instruments at greater length, none equalled Quantz in his combination of breadth and detail. Sei Duetti a due Flauti Traversi Opera Seconda was composed as a musical supplement of the Versuch. In the preface of the Opera Seconda, Quantz explained the effectiveness of duets in training students, expressed the nature and characteristics of good duets, and presented appropriate combination of instruments for performing this work. His works and views cannot be considered absolute guides for the performance of late Baroque music, but certainly reflect many practices of the period from about 1725 to 1755 as cultivated in Dresden, then one of the finest musical establishments in Europe, and subsequently in Berlin.

음악사 서술의 미시(微時)적 접근: 계몽시기 여성작곡가, 두 명의 안나 아말리아

신혜승 한국음악학학회 2008 음악학 Vol.16 No.-

In the method of studying and writing the historical facts about women composers in Enlightenment, I will adapt the method of micro-approach. Microhistories take the opposite tack to the large-scale, grand narrative approach that deals with major themes running over several centuries. Microhistorians build on the obscure and unknown rather than on the great and the famous. They take very small incidents in everyday life and restate them as stories, analysing them as metaphorical and symbolic clues to larger things. Thus they often disclose something of the relationship between the popular and the elite so as to inform a wider historical picture. If you focus on the cultural reality and social context rather than music forms in the view of women musicians, a role as a disseminator of music in relation with women inherent character became into relief importantly, which can be a main subject of music research. Through this, women can be acknowledged as composers, performers, musicologists. ‘Micro perspective in historical writhing of music’ is one of the methods to become a real music history. The Study on women musicians (for example, Anna Amalias and Gambarini) who was in the outside of history inevitably need a approach of this micro perspective. I hope that other composers and their works as well as Women musicians and their works be used positively in the cultural and social context, of which position be restored, and be lively adapted to present stage or education.

식품속에 함유된 화학적 위해 물질

신혜승,Sin, Hye-Seung 한국식품연구원 2004 食品技術 Vol.17 No.2

음악연구의 새로운 가능성, 음악문화콘텐츠 창작: “한국 근대가곡으로의 여행,《봉선화》를 찾아서”

신혜승 한양대학교 음악연구소 2015 音樂論壇 Vol.33 No.-

Today the digitalization of the archetypes of Korean modern songs are undertaken actively. This paper aims to advance digitalized information about musical culture contents through the humanities reconstruction. To this end, this paper intends to trace the development of the musical culture contents, for example, using a case study of “Travelling to Korean Modern Songs in search of Bongsunwha (garden balsam)…”. Thereby, it adjust historical information on the stream of Korean modern songs from the 1920 to the 1930 to a digital environment, in order to activate the narrative context of Korean modern musical culture. Thus this paper will give an illustrative example of establishing a database through the humanities reconstruction. This example, will add a new dimension of creating meaning, beyond the mere outcome of changing the media, the outcome that one can obtain information about Korean modern songs, i.e. composers, poets, lyrics, scores, and musical sound in a digital environment. In doing so, this paper will provide a potential of music studies as a new theoretical tool for utilizing musical heritage, and enhance our understanding of Bongsunhwa. 한국 근대가곡의 원형에 대한 디지털 상에서의 보존 작업이 활발하게 진행되고 있는 현 상황에서, 데이터베이스 기술력을 통해 디지털화된 정보들을 인문학적인 재구성을 통해 음악문화콘텐츠 창작이라는 단계로 진전시켜 보고자 함이 이 논문의 목적이다. 디지털 기술을 활용한 음악유산의 발굴과 체계화에 머물지 않고, 그 활용에 있어 음악연구가 할 수 있는 가능성 중 한 가지를 제시해 보고자 한 것이다. 그 예로서, 필자는 “한국 근대가곡으로의 여행, 《봉선화》를 찾아서…”라는 테마 아래, 1920~1930년대에 불린 한국가곡의 주체와 흐름을 디지털 환경 내에서 역사적 정보와 접목시켜 서사적 방식으로 활성화시키고자 한다. 단순히 한국가곡에 대한 정보(인물, 악보, 가사, 음원 등)를 디지털 환경에서 살펴볼 수 있도록 하는 매체 변환의 차원이 아니라, 이러한 정보를 내용에 따라 재구성하여 의미를 만들어 낼 수 있는 수준으로 끌어올리는 지식화의 방향을 모색하고자 한 것이다.

노래로 불린 동요들 -『어린이』 수록 창작동요의 노래부르기 실상-

신혜승 사단법인 방정환연구소 2024 방정환연구 Vol.6 No.1

This paper examines the meaning and role of children’s songs as a children’s movement and attempts a musical analysis of 46 songs published during the Japanese colonial period among the 52 children’s songs published with music score in the magazine Eorini (Children). In addition, the reality of singing children’s songs in Children was examined by referring to records of phonograph recordings and radio broadcast programs published in newspapers, among records of actual songs being sung. In other words, by studying the background and relationships surrounding children’s songs and exploring the situations in which they were actually sung, I aimed to provide a balanced understanding of the theory and practice of the children’s song movement. To this end, I first organized the musical characteristics of the 46 songs included in Children that have been identified to date among those published during the Japanese colonial period. And by collecting information on children’s songs sung through records and radio since the late 1920s, I identified which children’s songs were selected and how they were sung. In addition, I also covered what changes occur in the lyrics of a children’s song when it is actually composed and sung as a song. I attempted to understand the reality of singing children’s songs at the time by connecting how the children’s songs presented in letters and music score were actually sung, and through this, I attempted to establish the historicity of the children’s songs that are being passed down today. 본 논문은 동요 운동으로서의 동요의 의미와 역할을 조망하면서, 잡지 『어린이』에 악보와 함께 실린 동요 52곡 중 일제강점기에 발표된 46곡에 대해 가사와 음악과의 관계를 중심으로 음악적 분석을 시도하였다. 이와 함께 실제로 노래로 불린 기록들 중 유성기 음반의 기록과 신문의 라디오 방송 프로그램을 참조하여 『어린이』 수록 동요의 노래 부르기 실상을 다루었다. 더불어 동요가 가진 서양음악 수용사의 맥락을 1935년까지 『어린이』에 발표된 동요 작곡의 현황을 통해 파악해 보았으며, 더 나아가 이러한 동요들이 음반과 라디오를 통해 유통됨으로써 동요의 보급이 어떠한 양상으로 전개되었는지를 조망하였다. 즉 동요를 둘러싼 배경 및 인물관계에 대한 연구와 함께 실제로 노래로 불려진 상황을 탐구함으로써 동요 운동의 이론과 실제를 균형 있게 파악해 보고자 했고, 이를 통해 오늘날 전해지고 있는 동요의 역사성을 마련해 보았다.

1945년 이전 트로트 가요의 선율유형

신혜승 성균관대학교 부설 인문과학연구소 2001 人文科學 Vol.31 No.-