토션 바재의 마찰용접에 관한 연구(1)

오세규 부산수산대학교 산업기술연구소 1990 産業技術硏究所 硏究報告 Vol.1 No.1

수열, 음열 : 그 패턴의 음악적 응용

오세규 이화여자대학교 음악연구소 1999 이화음악논집 Vol.3 No.-

Between 1923 and 1933 many composers in Europe became aware of H. Cowell's works. Schoenberg invited him to a master class in Berlin in 1932. This contact may account for the forearm piano clusters that figure prominently in Berg's 'Lulu.' Even Bartok wrote for permission to use his clusters. Cowell's big interest in expanding sound resources even led to the sponsorship of Ives and Varese. The latter is linked with Electronic sound texture. At the beginning of the electronic age, the vision of the Futurists had not been forgotten. Moreover, the "new vocalism" of the 1960s saw composers also linked with Electronic sound texture: Berio, Crumb, Penderecki etc. Other phenomena to be mentioned is an increasing need to simplify creative stance as a reaction against Expressionism. It was acted in ways since 1920. Some have heard, in the 'Carmina Burana' by C. Orff, the aggressive and repetitious figurations, ostinatos. Orff identified some of the most basic elements of music, thereby endorsing many of the simplifying procedures. P. Hindemith also with Schoenberg may be mentioned in this vain of Simplicity. Meanwhile Schoenberg and Stravinsky had demonstrated the capacity to admire each other's music in the early teens. In recent years Boulez judged that "Stravinsky's and Schoenberg's paths to Neo-classicism differ basically only in one being diatonic and the other chromatic. Both composers adopt dead forms. And because they are so obsessed with them they allow them to transform their musical ideas until these too are dead." C. Rosen concluded that Serialism appeared to attempt the realization of the classical dream of a reconciliation between unity and diversity. Webern's path to new music is different though. Together with Schoenberg's concept of Klangfarbenmelodie, his rhythmic-contrapuntal conjunction provided the basis of his personal style - a style to increasing conciseness of expression and economy of motivic content. Much of the fascination of Webern analysis has turned on the observation of the interaction of micro- and macro- formal elements; of color, motif, and rhythm in the service of canon, variation, rondo, scherzo, and sonata forms. Messiaen's interest in the irrational values of Chopin and in Debussy's rhythms no longer dependent on tonality and pulse contributed to a metricality. The rhythmic structures of Greek and Hindu music complemented his investigation into the question of rhythmic and pich modes. The latter was given a explication in his 'Technique de mon langage musical(1944).' Nontheless, Messianen's example led to similarly systematic and serial explorations in the works of his pupils: Boulez proceeded to tackle a larger Beethoven-like four-movement form in the appearance, guise of his 'Second Piano Sonata(1947-48).' Here nonrepetitive, nonhierarchical rhythms achieve a stream of polyphonies and relationships that no ear could be expected to hear. The opening of 'Structures 1a' by Boulez reveals his adaptation of one of Messiaen's pitch modes from 'Mode de valeurs.' Having promoted an all-encompassion order in 'Structures 1a, Book I' Boulez realized that he had written something that was "total." This led to loosening of the technique in 'Le Marteau sans maitre(1952-54),' where the serial orders are undecipherable by the analyst. Stockhausen, by this time, was from Series to Formula. His 'Zeitmasse' for woodwind quintet uses a scale of tempi related to the longest and shortest note values. E. Carter was a special case: metrical modulation and layered forms. His concept of metrical modulation, which followed from Indian talas, Arabic and Balinese systems, Cowell's 'New Musical Resources,' 15th-century music, Skriabin, and Ives, has proven to be identifiable traits to "extension." It means manipulation of timbral and temporal groupings as an aspect of form. Messiaen,, Carter and Cowell, still more minimalist music were from Eastern backgrounds in sonorities and rhythmic structures. Cowell's turn to non-European musics led to the idea of "elastic form." It remained for Cage to translate these impulses not so much into compositions as into divergent aesthetic orientations. Chance may be involved in the process of composition, in performance, or in both. In the composition process pitches, durations, intensities, and their distribution in time may be chosen by dice throwing, interpretations of abstract designs(Cage), or according to certain mathematical laws of chance(Xenakis). In performance, chance is allowed to operate by leaving some elements and/or their order of appearance to the performer's discretion(Boulez, Stockhausen, Pousseur), thus introducing the idea of choice. The first well-known example of 20th-century aleatory composition was Cage's 'Music of Changes for piano(1951).' Stockhausen had already explored ideas of redundancy in randomly created texts and the aleatoric manipulation of electronic controls, resulting in "an aleatoric layer of individual pulses which speeded up statistically." In the main portion of this thesis, there mentions two different kinds of computer programs showing Mathematica's matrix operation and designing program modules for repetitive processing and random number production. These are for the applications of such aspects to real composing environments. The latter, random pitch program is in the spirit of the Xenakis' approach to musical structure. Fractal designs have recently gained attention in the computer music field. They are applicable to musical materials, as demonstrated by Program FRACDEC. Fractals are an example of what is called one-over-f fractional noise. This means that integer patterns generated by the fractal routine will exhibit self-similarity. Many composers consider fractals to be more useful than other types of randomly generated sequences, because they closely relate to and resemble the melodic patterns found in traditional music. Mathematical models derived from the field of Chaos Science have been applied to electronic music or any instrumental/vocal music. One of those is Lorenz's model of fluid behaviour. And one example of composition which shows central idea of order within chaos; various swings between the poles - regular/irregular, loud/soft, atonal/harmonic ancient instrumental timbre/sampled one of ancient instrumental - are manipulated in David Clark's.

산업기계 관련부품을 대상으로 한 마찰용접의 응용 ( Application of Friction Welding to Parts of Industrial Machinery )

오세규 한국마린엔지니어링학회 1986 한국마린엔지니어링학회지 Vol.10 No.1

거주자의 성능분석을 통한 주거단지 공간구성에 관한 연구

오세규,남기봉 대한건축학회 1993 大韓建築學會論文集 Vol.9 No.7

AE에 의한 소형 밸브스풀 마찰용접 품질의 실시간 평가

오세규,오정환,전태언,김경균,오명석 대한용접접합학회 1994 대한용접·접합학회지 Vol.12 No.2

Both in-process quality control and high reliability of the weld is one of the major concerns in applying friction welding to the economical and qualified mass-production. No reliable nondestructive monitoring method is available at present to determine the real-time evaluation of automatic production quality control for friction welding of special hydraulic valve spool of 16mm in diameter. This paper, so that, presents the experimental examinations and statistical quantitative analysis of the correlation between the initial cumulative counts of acoustic emission(AE) occurring during plastic deformation periods of the welding and the tensile strength and other properties of the welded joints of $\phi16$ valve spool as well as the various welding variables, as a new approach which attempts finally to develop real-time quality monitoring system for friction welding.

연구논문초록(’81-’90) : 배관방식용 유전양극의 접지전지 특성에 관한 연구

오세규,임우조,전대희 한국부식학회 1991 Corrosion Science and Technology Vol.20 No.1

This paper used for designing the grounding cell has reached the following conclusion as the results of an experimental study on the grounding cell characteristics of galvanic anodes for corrosion protection of pipings. The galvanic anode have three kinds such as zinc alloy anode, aluminium alloy anode and magnesium alloy anode, which are widely used on cathodic protection for all metals structures in water or under ground, and Silicon diodes are used on the insulation joint protective device : 1) in order to drain a certain electric current from a certain impressed voltage, the active area of anode should be increased but the space between anodes should be lessened as possible in the case of the environmental condition of high specific resistance. 2) Among these three kinds of galvanic anodes, when the specific resistance of the environment was bellow 750Ω. cm, zinc alloy anode was best, and when above 750Ω cm, magnesium alloy anode used for grounding cell characteristics was the best, but aluminium alloy anode in all the environments reduced grounding cell characteristics to the lower grade than those of zinc alloy anode. 3) The impressed voltage at which drainage current density begins rapidly increasing becomes lowered in all anodes according as the specific resistance of the environment increases. 4) The approximate relations of drainage current density and impressed voltage on the grounding cells of galvanic anodes are as follows : E_(Za)=log(5.2475/ρ^(0.0672))+64×1-^(-7)(10L)^(0.5112). ρ^(0.9006), i E_(Al)=log(4.8889/ρ^(0.0437))+66×10^(-7)(10L)^(0.5487). ρ^(0.9235), i E_(Mg)=log(4.152/ρ^(0.1234))+1514×10^(-7)(10L)^(0.0681). ρ^(06019), i 5) Impress voltage which have the rapid increase rate of the insulation joint protective device of silicon diode was higher than of the grounding cell of galvanic anodes, but the constant impressed voltage in the case of the former was higher than in the case of the latter.

화력 발전용 고압 로터강의 정하중 및 변동하중하의 고온 크립 균열전파 특성에 관한

오세규 부산수산대학교 산업기술연구소 1991 産業技術硏究所 硏究報告 Vol.2 No.2

Zr-4의 고온 크리프 및 응력이완특성에 관한 연구

오세규 부산수산대학교 산업기술연구소 1992 産業技術硏究所 硏究報告 Vol.3 No.1

화력 발전용 로터강의 초기 변형율이 CYCLIC 크리프 특성에 미치는 영향에 관한 연구

오세규 부산수산대학교 산업기술연구소 1992 産業技術硏究所 硏究報告 Vol.3 No.1

공동주택단지의 주거지 재 계획 과정에서의 거주자 참여방법에 관한 연구

오세규 대한건축학회지회연합회 2007 대한건축학회연합논문집 Vol.9 No.1

have a sense of influencing the design decision making process and increased feelings of responsibility in decision making. While it is necessary to identify goals and objectives in planning for participation, it is also necessary to analyze the techniques that are available and the resources they require. Techniques such as surveys, review boards, neighbourhood meetings, conferences, task force, workshops and interviews, represent a few of the options available to participatory planners. Participation in the development housing provides the opportunity for users to express their needs and goals. An aim of this study on searching out the user participatory methods in the planning process of the residential area. It discusses the various methods which can apply on redevelopment in the residential area. The study was conducted by a case study though the method of interview and questionary in residential area. The analysis of the results focused the characteristics of residents' opinion and interest. This study can be considered as the total organization of physical space, directly or indirectly involving in the decision making process whoever has to live with its consequences.