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.

노래로 불린 동요들 -『어린이』 수록 창작동요의 노래부르기 실상-

신혜승 사단법인 방정환연구소 2024 방정환연구 Vol.11 No.-

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.

[issue] 해외 줌 마술 공연 소개 & 후기 2

신혜승,채종민 ARCANA 2021 아르카나 Vol.37 No.-

[issue] 사라지고 있는 공연들 : 마술공연은 팬데믹에서 살아남을 수 있을까?

신혜승 ARCANA 2021 아르카나 Vol.38 No.-

펜 앤 텔러는 왜 마술의 비밀을 공개했는가?

신혜승,오해석 ARCANA 2021 아르카나 Vol.41 No.-

마케터의 눈으로 보는 마술 시장

신혜승 ARCANA 2021 아르카나 Vol.42 No.-

[issue] 해외 줌 마술 공연 소개 & 후기

신혜승 ARCANA 2020 아르카나 Vol.36 No.-

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.

휴믹산 수용액 상태에서의 Aroclor 1254의 광화학적 탈염소화 반응

신혜승,김재현 동덕여자대학교 2003 생활과학연구 Vol.8 No.-

Present work indicated that Aroclor 1254 degrades via indirect proteolysis initiated by humic acid(HA) in 1% acetonitrile water. It was observed that humic acid enhanced the photodegradation in NaOH occurred increasingly at higher pH than at low pH conditions. In this study, some of the dechlorinated products of the reaction were identified, however the peaks of hydroxylated compounds were unidentified. The photodegradation rates of Arclor 1254 depended on the increasing exposure time in the presence of humic acid, suggesting that the contribution of selected photo-generated reactive transient compounds and the reductive photodechlorination process were indicated. The results indicate that the main mechanism of this photochemical system is photodechlorination and a valuable method to decompose Aroclor 1254 efficiently in terms of waste treatment.

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.