J. S. Bach 18 Kleine Praludien

鄭貞植 이화여자대학교 한국문화연구원 1982 韓國文化硏究院 論叢 Vol.41 No.-

The purpose of this study is to consider the musical content instructional value of J. S. Bach's Twelve Little Preludes (BWV 924-30, 939-942, 999) and Six Little Preludes (BWV 9330938). This study includes a consideration of J. S. Bach's life concentrating on his Cothen period, his teaching method on the clavier, and an analysis of the above mentioned 18 Little Preludes followed by a presentation of the analysis in tabulated form. In order to clarify the sources of the 18 Little Preludes, the musical content of his Clavier-Buchlein for Wilhelm Friedmann Bach has been investigated here also. As a result of this study, it becomes clear that J. S. Bach's Twelve Little Preludes and Six Little Preludes should serve as the best preliminary text for all beginners learning to play polyphonic music fir the first time.

작은도서관 갖기 운동

정정식,Jeong, Jeong-Sik 한국도서관협회 1993 圖協會報 Vol.34 No.1

국내외에서의 한국어 교육의 현황

정정식 일본학연구회 2001 일본학논집 Vol.13 No.-

Beethoven piano sonata에 對한 小考

鄭貞植 이화여자대학교 한국문화연구원 1966 韓國文化硏究院 論叢 Vol.9 No.-

Man, by the existence of himself, alone can move not only the five senses but also that sixth sense of others, and thus reflect himself in them as well as receive their responses. It is a known fact that when one wishes to express himself by means of art, he can reveal both a part of his tangible self as well as his intangible self, depending upon the methods he applies. The language we use can be one, as was described by the famous writer Goethe, that stretches form its limited area deep into a world of unlimited universe unseen by our eyes. At the same time as Goethe was living, there lived another famous man by the name of Beethoven who lived in the same land, but he expressed himself from a different angle, that is by weaving each tone into a depth of spiritual ecstasy. Through certain technical processes and steps he showed his growth, maturity and the extent of his own world, as well as its techniques. Such development can be seen in many of his works. I would like to base my study on his complete piano sonatas, which were once referred to by Bulow as "The New Testament of piano Art". Instead of giving an analytical study of each phrase of the sonatas, I shall touch upon the overall aspect of all the compositions in view of their nature. I shall mention the chronological background, the social pattern those to whom the composer dedicated his works. Music first attracted Beethoven when he was only 4 years old. He began his piano study with his father who was a singer. In 1778, at the age of eight, Beethoven made his first public appearance in a piano performance at koln. In 1781, the child prodigy became known by many artists when he gave a second performance in Holland. He began to study composing in 1779, under Ch. G. Neefe, and in 1782 when Beethoven was only 12, he started composing piano sonatas. This continued until 1823, four years prior to his death, at which time Beethoven composed 6 piano sonatines and 32 sonatas. In order that Beethoven should gain new technique, Ch. G. Neefe let Beethoven practice Bach's well-tempered clavichord. In 1783 he composed 3 sonatas in C major, G major and F major. It was said these works were dedicated to an Archibishop of koln and to Maximilian Friederich, the kurfursten of koln. The C major sonata was dedicated to Miss Eleonore de Brcuning. Those compositions were based on simple basic styles of harmony, arrangements and keys. There are two unfinished works. The two sonatas of G. major and F. Major probably composed in 1785, seemed to have been dedicated to Jean Aug. Bohme of Hamburg. In 1770, Beethoven left his childhood home of Bonn for further study in vienna, the renowned city of music now as well as it was then. Under the influence of Mozart in his style of his composition, and through studies under Hayden, and other celebrated teachers such as J. schnek, J. G Albreehtsberger and A. saliec etc., Beethoven developed his musical technique and method necessary to interprete completely what he felt. Soon Beethoven began to insert more of his personal character into fixed forms of style, and thereby was able to sketch more of his own growing self both internally and externally. Finally his growth was such that he surpassed all human limits and arrived at a religious culmination. Many of his earlier works including his first sonatine op 2, reveal the style that might well be referred to as very much like that of Mozart, rather than a style of his own. However, one can still detect certain accents that are typical of Beethoven's that appear now and then. Many of his works showed traces of his attempt to try many different styles and forms. In all phases of composing techniques, his skill developed step by step and attained eventually a wide varietie of free styles and forms, wherein Beethoven revealed a characteristic style of his own. The music was evidently growing into a new dimension. One can note the wide range of difference between the piano compositions that demonstrated highly technical skills, and those that are very sweet, warm and simple in technique. Although Beethoven used Sonata forms in many of his sonata compositions, there are Sonatas that include none of the usual sonata forms in any of the movements. The styles and forms are so diverse it is hard to find uniformity in his works. As the result of his deep search for the inner emotions and passions of human beings, Beethoven stepped beyond the limit of God's creation into a matured stage of God's unlimited universe. And here, with the accumulated wealth of his knowledge and experience he composed a masterpiece that included all of his technical arts and which remained as the final great work of his life-time. It is equally worthwhile to note the persons to whom Beethoven dedicated many of his works. His first 3 works on piano sonatata op 2, which Beethoven began composing in 1795, were dedicated to his teacher Joseph Haydn. By 1797, he began to have private pupils and to one of these he dedicated his second work. In 1798, the following year, he had many admirers to whom he dedicated pieces. As time passed, his circle of social acquaintance widened; his name became widely known in high society. From his wide social acquaintance, one can imagine his rare artistic talent being publically acclaimed by society. His music still exercises great influence even down to our present generation, and will still be so in years to come. There is a common response whenever one plays his work, the more he plays the more he finds himself being absorbed into the depth of the composer's feelings and one cannot but find himself bowing deeply before this great master. In order to save time from studying each long sonata, I have made a chronological table of the entire 32 sonatas, their keys and movements, and the names of those of whom they are dedicated.

한국 당원의 정당 활동과 인식에 대한 연구

정정식 한국시민윤리학회 2011 한국시민윤리학회보 Vol.24 No.1

본 논문에서는 당원의식조사를 통하여 당원의 정당생활에 대한 만족도, 당비 납부 현황, 중앙당 또는 시도당 지도부와의 의견교환 정도 등 당원의 정당 활동에 대한 인식과 실태를 분석하였다. 그리고 당내정치와 관련하여 특히 당내 민주주의에 대한 인식과 한국 정당정치의 발전 방향에 대하여 살펴보았다. 본 논문의 분석결과와 향후 한국정당정치의 발전 방향을 생각해 본다면, 당원의 정당생활 만족도와 당비의 납부 그리고 선거운동 등 정당 활동의 활성화를 위해서는 당원으로서의 역할인식과 당내 의견교환의 활성화 등 참여구조나 소통시스템의 활성화가 필요하다. 특히, 정당의 정책결정 과정에 있어서 당원들의 의사가 반영되는 것은 중요하며 이를 위하여 주요 정책사안과 관련된 당원들의 의견을 수렴할 수 있는 제도적인 장치들이 강구될 필요가 있다. 정당정치발전을 위해서는 사회계층이나 이익집단의 요구 수용, 지방자치제도의 정착, 당원의 권한과 자율성 확대, 그리고 선거제도 개혁 등은 정당정치 발전에 매우 중요한 요인이라고 평가하고 있다. 그 중에서도 특히, 민주시민교육의 활성화에 대한 공통적인 합의를 가지고 있다. 그러므로 향후 당원들에 대한 민주시민교육의 제도화와 당내 민주주의와 관련하여 당원들의 의견을 수렴할 수 있는 제도적인 장치 그리고 당원의 권한과 자율성 확대가 한국 정당정치 발전을 위해서 요구되고 있음을 알 수 있다.

작은도서관운동을 돌아보며-전국의 사서에게 드리는 글

정정식,Jeong, Jeong-Sik 한국도서관협회 1994 圖協會報 Vol.35 No.3

식민치하의 음악교육

鄭貞植 이화여자대학교 한국문화연구원 1971 韓國文化硏究院 論叢 Vol.18 No.-

The late Professor Wondeuk Min planned for a long time to write the History of Music Education in Korea and completed the first chapter covering the period from the beginning of modernization in the late 19th century to 1910. this writer has continued with the next chapter covering the period of the Japanese occupation. From 1910 to 1945 when our country received independence. After the opening of Korea to Western culture, Western music became the foundation of general music and music in the educational curriculum; and the East and West became closer as Korea began to participate in world affairs. But after the Japanese colonization of Korea in 1910, harsh policies and brutal administration dominated all walks of life as the political, economic, cultural, and educational exploitation of Korea was carried out under the assimilation policy. In spite of this, our history shows a constant struggle to maintain a spirit of patriotism and nationalism. The purpose of this paper is to provide an overview of the history of music education, to analyze some of the major trends of music education activities, and to supply a possible reference source for the future of music education in Korea. I. Educational Policy and Music Education under the Japanese Occupation The chapter deals with the educational enactments promulgated by the Japanese Governors-General and the role that music played in the curriculum. This period is divided into three eras: 1. militant policy 2. cultural assimilation 3. despair II. The Colonial Policy and General Music Education Since the content of school musical activities was far removed from what Koreans would have planned and used, the writer has dealt with materials other than music textbooks and has considered children's songs, lyric songs, and even the popular songs that reflected our feelings and sorrows. In conclusion, the writer has included the pursuits of professional musicians, their concert tours and workshops; the means of education through the printed media; and musical activities under the General Mobilization Act for War after 1940. it is the writer's hope that another scholar will do research on our musicians and their activities after 1945 and write the next chapter n the history of music education in Korea.

석탄회의 재활용을 통한 반응소결 뮬라이트(3Al₂O₃ㆍ2SiO₂) 세라믹스의 개발

정정식,양태영,이윤복,오기동,박홍채 부산대학교 생산기술연구소 2000 生産技術硏究所論文集 Vol.58 No.-

석탄회를 출발물질로 사용하고 여분의 알루미나를 첨가하여 양론조성비(Al2O31SiO2=3/2, 몰비)를 갖는 뮬라이트 세라믹스를 반응소결법에 의해서 제조하고, 이의 상분석, 부피밀도, 기공율, 흡수율, 미세구조 및 기계적 성질을 검토하였다. 뮬라이트화는 크리스토바라이트와 α-알루미나의 반응에 의해서 1400℃에서 거의 종료되었다. 1600℃ 반응소결에 의해서 수축을 10.2%, 기공을 1.4%, 흡수율 0.5%를 갖는 서로 연결된 다량의 각주형상의 결정을 갖는 치밀질 뮬라이트 소결체가 제조되었으며, 이의 꺾임강도와 파괴인성은 각각 360MPa와 2.6 MPa · m1/2이 었다. Stoichiometric mullite(Al2O31SiO2=3/2, molar ratio) ceramics have been fabricated by reaction-sintering coal fly ash with a addition of alumina and the resulting materials have been chaiacterized in terms of phase, bulk density, porosity, water absorption, microstructure and mechanical properties. Mullitization was nearly completed by the reaction of cristobalite and α-alumina at ∼1400℃. After reaction sintering at 1600℃, a dense sintered mullite with interlinked elongated crystals exhibited shrinkage of 10.2%, porosity of 1.4%, water absorption of 0.5%, bend strength of 360 MPa and toughness of 2.6 MPa · m1/2.

일본 공공도서관 연수를 마치고

정정식,Jeong, Jeong-Sik 한국도서관협회 1995 圖協會報 Vol.36 No.6

지식 : 공공도서관과 과제지원센터

정정식 한국디지틀도서관포럼 2009 디지틀 도서관 Vol.55 No.-