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이창신 청주대학교 학술연구소 2018 淸大學術論集 Vol.31 No.-
Sijochang(old Korean narrative song), which literally means tunes of times(Sinjo and Sijeolga), is traditional popular vocal music and has such varieties as Pyeongsijo, Jireumsijo, Saseolsijo and Saseoljireumsijo. Like dialects, Sijochang varies from one region to another; for the Seoul and Gyeonggi region, the Gyeongje variety developed, and for other regions, the Hyangje variety developed, such as Naepoje(for the Chungcheong region),Wanje(for the Honam region), and Yeongje(for the Gyeongsang region). The Naepoje Sijochang sung by Han U-seop(born in 1934, in Haksan-myeon, Yeongdong-gun, Chungbuk) was recorded, and the characteristics of Sijochang sung and inherited in the Chungbuk region were examined. Four tunes were compared, such as Han U-seop's Pyeongsijochang(titled Cheongsani), Ha Gyu-il's Gyeongje Pyeongsijo(titled Ganghoe), and Yi Ju-hwan's Pyeongsijochang(titled Dongchangi). Han U-seop, who lives in Haksan-myeon, Yeongdong-gun, Chungcheongbuk-do, took lessons on the Naepoje Sijochang for 9 years since 26 years of age(1959) from Jeong Gu-ik, the disciple of Yun Jong-seon. The 5 varieties of Sijochang that Ha U-seop inherited included Pyeongsijo (Cheongsani), Saseolsijo (Changoesamgyeong), Yeochangjireumsijo (Gireogi meaning seagulls), Namchangjireumsijo (Barama meaning winds), and Yeokkeumjireumsijo (Haktago). Naepo in Naepoje means the inlet which indicated waterways connecting with the West Sea, referring to all the regions where ships departed from and at which ships arrived. Thus, Naepoje was the Sijochangje that was sung in the Naepo region. Naepo covered Mount Gaya, and its ten surrounding eup(counties), such as Gyeongseong, Haemi, Anmyeondo, Taean, Seosan, Ocheon, Dangjin, and Hongju, Deoksan, and Daeheung. This region, which constituted remote areas, was able to avoid being affected by ancient Japanese and Chinese invasions into the Korean Peninsula, was adjacent with the inlets, and had plains; thus, it had an ample supply of goods, and had many noblemen living for generations, giving it good economic and geographical conditions for Sijochang to prosper. Each tune has four types of beats, such as 55, 54, 51, and 50. The varieties of beats of Naepoje that Han U-seop inherited include ‘20·19·12’(51 beats, 81 rhythms), which is identical with the 49 beats(Gyeongje) which has no accompaniment of instruments, and is different from Wanje and Yeongje with 49 beats(Hyangje) and 48 beats, respectively. Chungbuk's Naepoje and Gyeongje have the same number of beats, because the two regions were geographically close, and historically related with each other, having similar customs. The Napoje Sijochang that Han U-seop leads has the following melodic characteristics. 1) It involves Ha Gyu-il Sijochang's not-fast rhythms‘♪♩’and a repetition of same sounds. The vocalization method involving taking time to breathe like with a quarter rest changed into Yi Ju-hwan's‘♩’, a repetition of same sounds, and short breathing. Considering this, Ha Gyu-il's vocalization method is seen as an old type. Han U-seop's Naepoje has some similarity to Ha Gyu-il's vocalization method, and thus is seen as having some of the Gyeongje ancient vocalization method. 2) Ha Gyu-il's and Yi Ju-hwan's(Gyeongje) Sijo have high sounds at the middle and end parts. However, the Naepoje Sijochang does not have high sounds, but has lengthened sounds, uses more leisurely‘♪♩’rhythms as in <Example 4> , and has single lengthened sounds. 3) A decorative note‘♬’, which produces the effect of sliding sounds lightly, is frequently used across the Pyeongsijo. 4) Diphthongs are not divided as in the Saseol Jangsaeng, and Baekgu's Danggwi and Punggyeong, making the Naepoje Sijochang different from the Gyeongje Sijochang where diphthongs are divided and songs are sung. Also, when singing Sijosi where the number of lyrics' characters is different, the Pyeongsijochang resolves that difference by dividing diphthongs, dividing rhythms, and repeating vowels, but without changing melodies. With such melodic characteristics, Naepoje expresses the feeling of "taking time" and "being relaxed" and this is related to the generosity and good-heartedness of the Chungcheong people. In the Chungcheung region, mountains are low and gentle and rivers run peacefully and slowly, although the scenic beauty is not superb, forming the Chungcheong people's character into a comfortable and generous one. Likewise, the Naepoje Sijo does not enjoy high sounds and has no great change in rhythms, but has single lengthened sounds.
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이창신,김용준,박천영,고진석,Lee, Chang Shin,Kim, Yong Jun,Park, Cheon Yong,Ko, Chin Surk 대한자원환경지질학회 1993 자원환경지질 Vol.26 No.2
Gold-silver deposits in the Kwangyang-Seungju area are emplaced along $N4^{\circ}{\sim}10^{\circ}W$ to $N40^{\circ}{\sim}60^{\circ}W$ trending fissures and fault in Pre-cambrian Jirisan gneiss complex or Cretaceous diorite. Mineral constituents of the ore from above deposits are composed mainly of pyrite, arsenopyrite, pyrrhotite, magnetite, sphalerite, chalcopyrite, galena and minor amount of electrum, tetrahedrite, miargyrite, stannite, covellite and goethite. The gangue minerals are predominantly quartz and calcite. Gold minerals consist mostly of electrum with a 56.19~79.24 wt% Au and closely associated with pyrite, chalcopyrite, miargyrite and galena. K-Ar analysis of the altered sericite from the Beonjeong mine yielded a date of $94.2{\pm}2.4\;Ma$ (Lee, 1992). This indicates a likely genetic tie between ore mineralization and intrusion of the middle Cretaceous diorite ($108{\pm}4\;Ma$). The ${\delta}^{34}S$ values ranged from +1.0 to 8.3‰ with an average of +4.4‰ suggest that the sulfur in the sulfides may be magmatic origin. The temperatures of mineralization by the sulfur isotopic composition with coexisting pyrite-galena and pyrite-chalcopyrite from Beonjeong and Jeungheung mines were $343^{\circ}C$ and $375^{\circ}C$ respectively. This temperature is in reasonable agreement with the homogenization temperature of primary fluid inclusion quartz ($330^{\circ}C$ to $390^{\circ}C$; Park.1989). Four samples of quartz from ore veins have ${\delta}^{18}O$ values of +6.9~+10.6‰ (mean=8.9‰) and three whole rock samples have ${\delta}^{18}O$ values of +7.4~+10.2‰ with an average of 7.4‰. These values are similar with those of the Cretaceous Bulgugsa granite in South Korea (mean=8.3‰; Kim et al. 1991). The calculated ${\delta}^{18}O_{water}$ in the ore-forming fluid using fractionation factors of Bulgugsa et al. (1973) range from -1.3 to -2.3‰. These values suggest that the fluid was dominated by progressive meteoric water inundation through mineralization.
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이창신 청주대학교 학술연구소 2004 淸大學術論集 Vol.4 No.-
Korean tradtional music is musical culture that our race have made during about 5 thousand years. And Chungbuk area has been important part of korean traditional music history, because The place has produced Pakyoun who arranged the music of Lee's dynasty and leaded making of many musical instrument, Uhreuk who is the founder of Kayakum music. Moreover, there were many musician in Chungbuk. For example Pakpalguae who is the best kayakum byungchangist, Leedeukyoon who wrote 『Hyunkumdongmunryuke』, and many pansori singers of Joonggoze in Chungbuk. Their musical ability is the pride of Chungbuk as the first metal movable type 'Jikji' is. so we desire the cultural capacity in this area to be active again. In addition, There are Cheungju farm music, Chungju Masuri farm song, Youngdong Seulgyeri farm song Naepoze Sijo, various Arirangs and work songs in Chungbuk area. With these traditional music, We can express the joys and sorrow of life and philosophy. In future, It will be a subject to make lively music culture for local tradition. first; We need to build Chungbuk traditional music festival. It must inciude musical property more than Chungju and Youngdong festival that are carried now. therefore, We must remake the original form of various work song, fork song and Junggoze pansori that are transmitted in Chungbuk area. And with these music we must make new future music for people. Finally We will add new tradition to the existing tradition and leave cultual property for posterity. And we need spaces for performing traditional music. We can breathe and enjoy with people at their living spaces instead of western theatre and the performances at traditional markets would be able to bring us economic effect. Second; It's need to make the most of the special quality of Chungju and Youngdong festival. Chungju festival related to Uhreuk must magnify and concentrate upon the theme 'kayakum'. It is necessory to make kayakum band and activate kayakum music to world wide culture. And it is able to hold 'International Kayakum Festival' for similar musical instrument to kayakum of the world. In Youngdong, with the achievement and musical spirit of Pakyoen, It is thinkable to organize Jeongak band and improve musical instrument more positively.
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리더의 성취동기 개인차가 부하의 낮은 근무성과에 대한 歸因과 歸還(feedback) 및 귀환후 리더의 반응에 미친 영향
이창신 숙명여자대학교 통일문제연구소 1996 통일논총 Vol.- No.14
본 논문은 기존의 이론이나 실증적 연구들을 토대로 명제를 설정하고 이들을 논리적으로 결합·연역하여, 리더의 성취동기의 개인 차이에 따라 부하의 낮은 근무성과에 대하여 어떤 귀인편파(bias)를 일으키는 경향이 있으며, 부하의 그것에 대한 歸還(feedback)과 귀환후 리더의 반응에서 어떤 차이를 보이는 가에 관해 다음과 같은 새로운 명제를 도출하였다. 부하의 낮은 근무성과에 대하여 성취 동기가 높은 리더는 부하의 노력부족으로 돌리는 경향이 있고, 성취동기가 낮은 리더는 능력부족으로 돌리는 경향이 있다. 성취동기가 높은 리더는 그것이 낮은 리더보다 부하의 낮은 근무성과와 관련하여 부하들에게 처벌을 더 많이 주고, 그들의 보수를 더 많이 삭감하며, 그들을 더 낮게 평가하는 경향이 있다. 부하들이 낮은 근무성과를 보일때 성취동기가 높은 리더는 그것이 낮은 리더보다 동기지향적 귀환을 더 빈번히 사용한다. 성취동기가 높은 리더는 부하의 낮은 근무성과에 대한 귀환과정에서 부하에 대해 개방적 상호작용과 수평적 의사전달 유형을 사용하며 귀환 전에 비해 귀환 후 부하의 근무성과를 더 좋게 평가하고, 부하에 대한 처벌의 양과 보수지급의 삭감과 노력귀인의 정도를 완화하는 경향이 있다. 그러나 성취동기가 낮은 리더는 귀환과정에서 부하에 대해 폐쇄적 상호작용과 수직적 의사전달유형을 사용하고 귀환 후 부하에 대한 근무성과 평가와 보수지급 결정, 처벌의 양과 노력귀인의 정도 등에서 귀환전과 같은 경향을 보인다.
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