중국학계의 한국 안보정책 연구현황

유승지 ( Seungji Ryu ) 사단법인 아시아문화학술원 2021 인문사회 21 Vol.12 No.1

탈냉전 이후 국제질서와 한반도 안보환경이 변화되자 한국학계는 포괄적 안보의 개념을 적용한 안보정책 담론들을 제시하기 시작했고 한국 정부는 포괄적 안보개념을 안보정책에 반영하여 2004년 최초로 국가안보전략서를 발행하였다. 그렇다면 한국의 안보정책을 주변국은 어떻게 받아들이고 있을까? 한국이 현재 직면한 안보 현안을 해결하기 위해서는 주변국과의 협력이 필수적이라고 할 수 있다. 이에 중국학계의 한국 안보정책 관련 주요 연구물들의 연구 동향을 분석하여 중국 연구자들의 한국 안보정책에 대한 인식을 고찰하고 이를 통해 중국의 입장도 추론해 보고자 한다. 연구결과 중국의 연구자들이 한국의 안보정책을 한미군사동맹 위주의 군사영역으로 인식하고 있었으며 한국 정부의 공식자료에 대한 연구의 결여는 한국 안보정책에 대한 편향된 시각과 논증의 오류를 야기했다. 이를 극복하기 위해서는 앞으로 한국학계 연구자들과 중국학계의 연구자들의 많은 노력이 필요할 것이다. As the international order and security environment on the Korean Peninsula changed after the Cold War, Korean academia began to present security policy discourses that applied the concept of comprehensive security. The South Korean government published its first national security strategy in 2004 reflecting the concept of comprehensive security in its security policy. Then, how do neighboring countries accept Korea's security policy? Cooperation with neighboring countries is essential to resolve security issues currently facing South Korea. Therefore, it was intended to analyze the research trends of major Chinese studies on Korea’s security policy and to consider Chinese scholars’ perception of Korea’s security policy and infer China's position. According to the study, Chinese researchers recognize Korea’s security policy as a military area centered on the South Korea-U.S. military alliance.The lack of research on official data by the South Korean government has caused errors in biased views and arguments on South Korea’s security policies. To overcome this, a lot of efforts are needed by Korean and Chinese scholars.

국내 피아노교육 발전을 위한 성찰과 제언

유승지 ( Ryu Seungji ) 세계음악학회 2016 음악과 문화 Vol.35 No.-

The purpose of this study was to search for developmental plans for piano education in South Korea based on a reflection on the core capabilities required from piano teachers in future society. In the 21st century, piano educators need to develop creative abilities of offering interesting teaching and learning models. Additionally, it is important to meet the needs of students through smooth interactions across various educational environments. In this study, the investigator proposed seven core capabilities required from 21st century creative piano teachers: 1) teachers who are capable of teaching music beyond the scores; 2) teachers who are capable of introducing various piano works according to the levels of students; 3) teachers who are capable of teaching the theories in connection with performance and eventually inducing their students to improvise and compose; 4) teachers who are capable of applying integrated ideas of developing elements across various genres of art to piano education; 5) teachers who are capable of utilizing new technology; 6) teachers who are capable of applying an array of teaching strategies based on an understanding of the objects of learning; and 7) teachers who are capable of taking interest in the academic development of piano pedagogy. In bringing up teachers with those core capabilities, several requirements had to be met: 1) to establish a set of conditions to nurture piano teachers with the qualities required by a future society; 2) to search for diverse cooperation plans among universities, publishing companies, academies, and governments; 3) to set up conditions for Koreans to promote the publication and popularization of diverse piano works for educational purposes according to the level of students; 4) to explore the possibilities of integrated and converged education through collaboration with experts in many different fields; and 5) to build an environment for scientific and specialized research. In recent years, the term ‘lifelong education’ is often mentioned. Great teachers are the ones who continue to explore new things and make constant efforts to change themselves throughout life. It is such teachers that will provide creative piano education to change the next generation.

스위스 달크로즈인스티튜트(IJD)의 교육과정 분석을 통한 국내 달크로즈 교육 발전방안 모색

유승지 ( Seungji Ryu ) 세계음악학회 2018 음악과 문화 Vol.39 No.-

This research aimed to explore measures to further develop Korean Dalcroze education through the process of analyzing the Dalcroze educational program of the Institut Jaques-Dalcroze (IJD), which is not well known in Korea. For this purpose, the researchers visited IJD from October 30th to November 17th, 2017, and experienced the actual education through participating in various classes. In addition, a thorough review of the curriculum was conducted using the following methods: interviewing students and faculty members, analyzing information about the IJD course from brochures and information retrieved online, and using handbooks for undergraduate and graduate courses. Through the analysis of the educational program of IJD, it was recognized that the curriculum for the Dalcroze teacher training was designed for the following educational objectives: 1) Education to nurture professionals who maintain and develop the identity of the Dalcroze method; 2) Education to raise artists who can carry out creative projects; (3) Education to foster teachers who broaden the scope of the Dalcroze method in society; and (4) Education to cultivate researchers who will lead the academic development of the Dalcroze method. IJD and domestic education conditions are very different, but the educational goal of training qualifying Dalcroze experts is the same. According to the research, the following efforts seem to be necessary for Korean Dalcroze education to develop further in the future: 1) Exploring a systematic curriculum to nurture Dalcroze experts more effectively; 2) Developing a test system to help students progressively improve their skills; 3) Promoting creative projects via small-group activities with various level of students (ranging from beginner to advanced); 4) Nurturing field-customized talents through cooperation with various institutions and efficient operations of teaching practice process; 5) Conducting research projects through interdisciplinary exchanges; 6) Obtaining educational materials through collecting and publishing research data; and 7) Fostering exchanges through global young talents cultivation.

마르탱 8 Preludes pour le Piano 박과 리듬 분석에 기초한 플라스틱 아니메의 적용¹⁾

김지혜 ( Jihye Kim ),유승지 ( Seungji Ryu ) 세계음악학회 2017 음악과 문화 Vol.37 No.-

Frank Martin was one of composers of the 20th century that conducted creative experiments with rhythm. He also put an emphasis on the importance of rhythm education through physical training. This study was based on this philosophy of the composer, and applied the rhythmic theory of Emile Jaques-Dalcroze and the laws of musical expression(metrical accent; rhythmical accent; pathetic accent) of Mathis Lussy to analyze the rhythm of 8 Preludes pour le Piano. Plastique Animee was especially introduced as a tool of helping with the musical expressions of analyzed rhythm. In 8 Preludes pour le Piano, Martin introduced irregular meter, changing meter, and polymeter to experiment meter. By making use of his beat experiments, Martin hinder the regular flows of metrical accent and created musical tension. His heavy emphasis on beat is well illustrated in his metronome marks based on the basic beat and his notation with a unit of beat. In addition, he used rhythmic techniques to go against the regular flows of beat, which come from beat grouping, syncopation, alteration of note values by rest and tie, and cross rhythm. Meanwhile, he loved to use rhythmic counterpoint, anacrusic phrase, and phrase of irregular length to emphasize the rhythmic accent. He also used in details articulation, dynamic marks, and tempo terms to highlight pathetic accent that were derived from changes of melody, rhythm, and harmony. Based on those analysis results, the Plastique Animee consisted of activities including movements in place, movements in space, scat, and singing to experience correlations between music and movement in the context of "time-space-energy." Finally, the content of Plastique Animee operation in No. 3 and 4 of 8 Preludes pour le Piano, was introduced as an example. Although the present study shows Martin`s experiments on rhythm and its application of physical movements over preludes. Yet it could be applied to other works, as well. The greatest significance of the this research is thus found in that it a music major instead of a dance major analyzed the musical content of his 8 Preludes pour le Piano, made an attempt at Plastique Animee to reproduce music with physical movements, and shed new light on usefulness of physical working for musical performance.

<모드와 무드>에 나타난 반달의 음악어법

최은경 ( Choi¸ Eunkyung ),유승지 ( Ryu¸ Seungji ) 한국피아노교수법학회 2021 음악교수법연구 Vol.22 No.2

반달은 피아노 교사로 활동하며 많은 교육용 피아노 작품을 남긴 미국의 작곡가이다. 그 중 1989년에 작곡된 <모드와 무드>는 중급 수준의 학생들이 선법을 흥미롭게 학습할 수 있는 7개의 작품으로 구성된 모음곡이다. 이 작품의 분석을 통해 나타난 반달의 음악어법은 다음과 같이 요약된다. 첫째, 7개 선법의 구별된 특징을 효과적으로 드러내기 위해 종지음과 특징음이 강조된 선율과 화성 진행을 사용하였다. 둘째, 재즈적 요소가 발견되는데, 페달 포인트 및 텐션 음의 빈번한 사용, 엇박, 당김음, 불규칙 박을 사용한 리듬의 변화, 그리고 워킹 베이스를 이용한 선율 진행 등이다. 셋째, 중급 학생들의 수준을 배려한 교수학적 아이디어가 적용되었는데, 각 선법의 구별된 정서를 표현한 표제의 사용, 손가락의 교차와 이동을 최소화한 선율 진행, 단순한 선율 동기를 음역, 셈여림, 템포, 및 반주 패턴의 대비를 통해 변형시킨 것, 그리고 섬세한 페달 표기 등을 꼽을 수 있다. 본 연구를 통해 국내에 잘 알려지지 않은 반달의 교육용 작품에 대한 연구가 활발해지고, 선법에 기초한 피아노 음악에 관심을 가지는 계기가 마련되기를 기대한다. Robert D. Vandall was one of the famous composers of educational piano works in America. His work, < Modes and Moods > composed in 1989, is a suite of seven pieces that included various ideas so that students at the intermediate level can joyfully learn about mode. Vandall’s musical syntax discovered through the analysis of < Modes and Moods > is summarized as follows. First, the melodies and harmonic progressions emphasizing tonic and characteristic notes are used to reveal the distinct characteristics of seven modes. Second, jazz elements are also notable: the frequent uses of pedal points and tension notes, rhythmic changes which use offbeats, syncopations, unequal beats, and melodic progressions with walking bass. Finally, this piece displays various pedagogical devices that are considered appropriate for intermediate-level students. Vandall used titles expressing the distinctive sentiment of each mode, and minimized the finger crossing and movements in melodic progression. In addition, he altered simple melodic motives with the register, dynamics, tempo, rhythm, the accompaniment pattern, and offered delicate pedal markings. Through this study, it is expected that research on Vandall’s educational works, which are not well known in Korea, will be actively studied, and that piano teachers and students alike will be interested in piano music based on mode.

요한 쿠나우 <성서소나타> 중 제 1번 ‘다윗과 골리앗의 싸움’에서 나타난 이야기와 음악과의 연관성 분석을 통한 음악적인 해석 방안 모색

원소연 ( Won Soyoun ),유승지 ( Ryu Seungji ) 한국피아노교수법학회 2017 음악교수법연구 Vol.18 No.2

요한 쿠나우의 <성서소나타>는 표제 뿐 아니라 그가 직접 쓴 서문, 그리고 묘사적 설명을 수록한 작품으로 건반음악 문헌에서 표제음악을 논할 때 빼 놓을 수 없는 중요한 작품이다. 본 연구는 <성서소나타>의 기초가 되는 성서의 이야기와 음악과의 연관성을 분석하는 과정을 통해 작곡가가 어떤 작곡기법을 사용해서 이야기를 더 효과적으로 표현하였는지를 발견하고, 이러한 과정을 통해 상상력을 가지고 연주 할 수 있는 음악 해석 방법을 모색하는 것을 목적으로 이루어졌다. 연구 결과 악보 상에서는 음악적 정보가 제한적으로 나타나지만 등장인물의 심리상태, 상황에 따라 적절한 음악적 요소를 배합하여 이야기를 효과적으로 묘사하고 있음이 발견되었다. 또한 이야기의 전개에 따른 특징적 리듬 모티브, 박자의 구별된 사용도 드러났다. 그 외 템포, 다이내믹, 아티큘레이션, 프레이즈, 꾸밈음, 음역, 음정, 화성, 조성, 그리고 양식의 사용에 있어서도 감정과 분위기에 따른 대조적인 표현이 발견되었다. 악곡 분석, 5종류의 에디션 분석, 7명의 연주 분석을 통해 다각도로 살펴본 본 연구의 결과는 음악해석, 그리고 더 나아가서는 표제음악 작곡을 위한 유용한 정보를 제공할 것으로 기대한다. The Biblical Sonatas of J. Kuhnau(1660-1722) are important pieces of work that cannot be overlooked when discussing program music-especially in keyboard music literature. The reasons for this are because The Biblical Sonatas includes the title of each song and explanatory rubric as well as the introduction written by Kuhnau. The purpose of this study is to discover a composition technique to express the story more effectively through the analysis of the connection between the story of the Bible and the music, as well as to find a way of interpreting music that can be played expressively with imagination. The result of the study shows while there is limited information in the score, the story is effectively described by applying unified musical elements according to the psychological condition of the character and situation. The characteristic rhythm motives and meters are also distinctively used as the story is developed. Moreover, contrasting expressions are found in accordance with emotion and atmosphere when using the tempo, dynamics, articulation, phrase, ornamentation, register, interval, harmony, tonality, and style. The information found in this study through the analysis of five editions and recordings by seven performers on the relationship between story and music, will provide ideas for both musical interpretation and composing program music.

≪어린 피아니스트를 위한 10개의 모음곡≫ 분석을 통해 발견한 달크로즈의 음악어법과 교수학적 아이디어

유승지 이화여자대학교 음악연구소 2016 이화음악논집 Vol.20 No.3

20세기를 대표하는 음악교육가 달크로즈는 교육용 목적을 위해 많은 피아노작품을 작곡하였다. 하지만 작곡가로서의 그의 활동과 위상에 대해서는 잘 알려져 있지 않다. 1906년에서 1907년에 걸쳐 달크로즈가 작곡한 ≪어린 피아니스트를 위한 10개의 모음곡≫에는 ‘내 즉흥연주 수업을 듣는 학생들에게’라고 헌정 대상이 명시되어 있는데, 19세기 낭만주의로부터 물려받은 전통주의 화성에 바탕을 두고 있으면서 소박하고 아름다운 선율을 지니고 있어 달크로즈의 음악어법을 이해하기에 매우 좋은 작품이다. 이에 본 연구는 달크로즈의 피아노 작품 ≪어린 피아니스트를 위한 10개의 모음곡≫을 분석함으로써 작곡가로서의 달크로즈를 재인식할 수 있는 계기를 마련하고, 달크로즈가 음악교육자로서 가지고 있던 생각을 어떻게 작품 속에 녹여냈는지 살펴보는 것을 목적으로 이루어졌다. 그의 작품은 1) 색채감 풍부한 화성어휘, 예측불가한 조성변화, 2) 연주자의 다양한 호흡을 유도하는 프레이즈 구성, 3) 뉘앙스의 섬세한 표현을 담고 있는 것으로 나타났고 이러한 음악적 내용은 그의 교수학적 아이디어로부터 파생된 것이었다. 따라서 본 연구의 결과는 이 곡을 연주하는 연주자들, 가르치는 교사들, 그리고 교수학적 필요에 의해 새로운 작품을 탐색하는 연구자들에게 유용한 자료로 제공될 것이다. 또한 국내에서 전혀 다루어지지 않았던 달크로즈의 피아노작품 관련 연구의 시발점이 될 것으로 기대한다. Dalcroze, one of the greatest music educators in the 20th century, composed a huge number of piano pieces for educational purposes. There is, however, nothing much known about his activities and status as a composer. Written in 1906 and 1907, his Dix Miniatures pour Jeunes Pianistes was dedicated to “the students in my improvisation class.” It is a very good piece to understand his musical grammar as a composer. This study thus set out to analyze his Dix Miniatures pour Jeunes Pianistes, thus creating an opportunity to renew the perceptions of Dalcroze as a composer rather than an educator and examining how he reflected his ideas as a music educator in his works. The findings were as follows: his work turned out to show the harmonious vocabulary of rich color sensations and unpredictable tonality changes, present a phrase composition to induce the player’s breathing in various fashions, and contain delicate expressions of nuances. Those bits of musical content came from his instructional ideas. Players or teachers can use the information provided in the present study as a ground for musical interpretations. It can be also prove useful to the people that are in search for new repertoires for instructional needs. Furthermore, the present study will mark the beginning of research conducted on Dalcroze’s piano works that have not been covered in the nation.