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        역량 기반 전공 교과목의 성취도 평가 방안에 관한 연구 : K대학 사례를 중심으로

        조용연 ( Yong-yeon Cho ),김주리 ( Ju-ri Kim ),강승찬 ( Seung-chan Kang ) 한국실천공학교육학회 2022 실천공학교육논문지 Vol.14 No.2

        다양한 역량을 기를 수 있도록 설계한 역량 기반 전공 교과목이 늘어나고 있다. 여기서 역량이란 핵심역량 혹은 전공능력, 공학교육인증의 프로그램 학습성과, NCS의 능력단위 등을 포함한다. 교육부의 대학 기본역량 진단 평가에서는 모든 전공 교과목이 해당 학과의 전공능력을 제고할 수 있도록 편성 운영할 것을 요구하고 있으며, 공학교육인증을 운영하는 학과의 전공 교과목은 프로그램 학습성과와 연계되어야 한다. 또한, 능력중심사회가 강조되면서 대두된 NCS(National Competency Standards)를 교육내용으로 구성하여 전공 교과목을 능력단위에 기반하여 개발 운영하기도 한다. 다양한 형태의 역량 기반 전공 교과목은 관련된 역량이 향상될 수 있도록 교육하고, 수행의 과정과 결과를 모두 고려하여 학생들이 어느 정도의 성취 수준을 보이는지 확인할 수 있는 역량 평가 방식을 선정하여 교육성과를 측정해야 한다. 이에, 본 논문에서는 역량과 연계된 전공 교과목에서 교육성과를 측정하기 위해 사용되고 있는 역량평가 유형을 살펴보고, 교과목 단위에서 다양한 형태의 역량을 종합하여 측정하는 평가방법을 제안하고 이를 전공 교과목에 적용한 사례를 제시한다. There is an increasing number of competency-based major courses organized and operated to develop various competencies. Here, competencies include key competencies/major competencies in the evaluation of basic competency diagnosis in universities, Program Outcomes of engineering education certification, and NCS competency units. The Ministry of Education’s evaluation of basic university competency requires all major courses to be organized and operated to improve the major competency of the department, and major courses in the department that operates engineering education certification should be linked to Program Outcomes. Various types of competency-based major courses should be educated to improve related competencies, and educational performance should be measured by selecting a competency evaluation method that allows students to check the level of achievement in consideration of both the process and results of performance. Therefore, this paper examines the types of competency evaluation used to measure educational performance in major subjects related to competency, proposes an evaluation method that synthesizes and measures various types of competencies at the subject level, and presents examples of applying them to major subjects.

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      • KCI등재후보

        근대 찬송가 창작가사의 음악찾기

        조용연 ( Yong Yeon Cho ) 한국음악학학회 2014 음악학 Vol.22 No.2

        선교 초기 한국교회 창작가사는 창작음악 작곡가가 없었던 까닭에 대부분이 영, 미 찬송가 미터(운율)에 붙여졌다. 이들 창작가사는 교회에서 즐겨 불려지는 이른바 ``유명한 찬송가``들이었다. 그리고 더 많은 창작가사들은 찬송가책 바깥의 신문이나 잡지에 실리고 잊혀졌다. 그러므로 창작가사들이 어떤 찬송가에 붙여졌는지 알 수 없는 경우도 적지 않다. 음악을 모르는 이 창작가사들은 특정 찬송가에 맞추어 불려졌을 것으로 추정된다. 왜냐하면 이들 창작가사는 노래를 목적으로 만들어졌기 때문이다. 또한 비록 소수에 불과하지만, 당시 널리 불렸던 유행가나 전통민요의 선율에 붙여져 불리기도 했다. 이 역시 가사만 전해 오기 때문에, 많은 경우 어떤 음악에 붙여졌는지도 알기 어렵게 한다. 그것은 창작가사가 어떤 음악에 붙여 졌는가 하는 물음을 갖게 한다. 이를 연구하기 위해서는 먼저 응용이 가능한 ``틀``(도구)을 찾아내야 했다. 즉 모태가사와 창작가사의 표현적, 언어적 관련성을 파악한 다음, 미터와 음절 구조의 유사성을 밝히고, 그것을 통해 해당 음악을 찾아내는 것이다. 음악을 알 수 없는 가사의 음악찾기는 창작가사가 모태가사와 공통된 표현이나 내용을 갖는 경우가 흔하기 때문에 가능한 일이다. 무엇보다 유사한 단어와 내용이 음악찾기의 중요한 단서가 될 수 있다. 따라서 이 연구는 앞서 제시한 틀을 근거로 창작가사의 음악찾기를 시도했다. 한편 이 작업은 향후 더 많은 창작가사들의 본래 음악을 찾는데 중요한 기초가 될 수 있을 것이며, 나아가 악보 없는 창작가사의 음악찾기 작업은 초기 한국 교회음악역사의 재구성을 위해서도 절실히 필요하다고 본다. So far, this researcher has examined creative words that were used as the lyrics of mission songs in the early period of evangelization by the Korea church. Some of those words were tuned to British or American hymns. Others were sung by using the melodies of popular or traditional songs that were in fashion at that time. Nevertheless, many creative words are still uncertain when it comes to music pieces to which those words were adapted to be sung. This is because the words are remained without any musical information. Therefore, this study aimed to identify songs to which the creative words were adapted to be sung. In the previous study, this researcher focused on correlations in terms of vocabulary, content and expression between creative and original words and similarities in meter and syllable structure between the two groups of words. Accordingly, the researcher identified hymns that have something to do with some creative words while informing other creative words whose related hymns were not found. This study discussed in the following how to more effectively identify songs based on which creative words were sung, which were not identified in the previous research. First, this study examined cases that original and creative words match with each other in terms of content and form. In terms of content, those original and creative words are same or similar to each other in implications and the composition, vocabulary and expression of the refrain. In terms of form, the two groups of words are exactly equal to each other in meter, syllable structure, the number of syllables and rhythm. In some of the cases, creative words have more syllables than original ones do. This is attributed to rhythmic division for communicating the meaning of Korean lyrics. It``s not a big problem musically. Second, this study examined cases that creative words are different in content or form from original words. More specifically, those cases include creative words that are similar in content to original words or have some traces of the originals, but different in the number of syllables and creative words that are same in meter, but different in lyrics from original words. In these cases, it``s possible to identify songs only if creative and original words are same in any of content and form. Third, this study dealt with cases that it``s difficult to determine a music piece to which creative words were adapted. Those cases include creative words which are presumed to have been adapted to a music piece when their meter, number of syllables and lyric structure and expression are considered, but that piece is uncertain, creative words that seem to have something to do with traditional music, but which piece of that music is related is uncertain(a long-text music piece like pansori) and creative words whose refrain is different from that of original words. In this study, the researcher could identify songs that were sung with creative words by determining the originals of those words. This provides basic information for helping identify songs based on which many other creative words for which music scores can``t be found were sung. The identification is necessary for clarifying this country``s history of earlier church music.

      • KCI등재

        찬송가 미터와 창작가사의 음절그룹

        조용연 ( Yong Yeon Cho ) 민족음악학회 2013 음악과 민족 Vol.46 No.-

        In the early period evangelization in this country, Korean believers sung translated versions of American and British hymns. Words of the translations were gradually substituted by creative musical lyrics that Koreans made. In this nation, hymn collections have been issued in accordance with period, editor and sect. Some of the above creative musical lyrics are found in those collections. In hymns, each movement has the title of song, the names of writer and composer and meter marked together. Especially, the meters are classified into regular ones like ``8.8.8.8``or ``9.9.9.9``, collectively called ``consistent meter``, regularly but differently syllabled ones like ``8.6.8.6`` or ``7.6.7.6``, collectively as ``mixed meter``, and ones with varying numbers of syllables like ``8.6.8.6.6.6``, that is, ``irregular meter``. Creative musical lyrics that have been locally made as the words of hymns are all in tune with the meters of corresponding foreign hymns. This is also true in case of 23 pieces of creative musical lyrics that were examined in this study. Among the 23 works, more specifically, 8 are ``consistent`` in meter, 13, ``mixed`` and 2, ``irregular``. However, the meter of each of the pieces keeps the pattern of 8.8.8.8 or 8.6.8.6. Thus, the hymns that were later translated and created in Korean are not different in the number of syllables. But in some cases, their words are not same to each other in meaning group. Meter can be divided depending on meaning group. For example, in the meter of 8.8.8.8, ``8`` may be divided into ``4?4``or ``5?3`` and in that of 8.6.8.6, ``6`` into ``3?3`` or ``2?4``. This study examines relations between such divided meters and musical rhythms of the creative musical lyrics, thereby finding out a basic framework hidden in those lyrics and their divided meters. Based on that framework, then, this study tries to identify what are the originals(original hymns) of the creative works having lyrics only(without musical scores). Investigating lyrics added to frequently sung melodies and determining how those lyrics are basically framed in syllable group can contribute to identifying the originals of many creative musical lyrics. For example, 「Sipgyega」 has words only, but no musical score. Seemingly devoid of chapter and passage, those lyrics are structurally and precisely identical to the basic framework that the meter of hymn, Harvest has. Nevertheless, however, some creative musical lyrics added to the melodies of existing hymns seem to be a little awkward.. This is because in those lyrics, meaning groups are broken down by divided meters. For example, 「Hanaleun Yesunimeui Yeonggwangeul」 has been divided into "Hanaleun Yesunim/eui Yeonggwangeul"(6?4) due to meter division, even though "Hanaleun Yesunimeui/Yeonggwangeul"(7?3) is logically right. This problem is because melodies added to the above lyrics were not given after those creative words were made, but already existed before the making. More fundamentally, there were few professional composers in the early period of evangelization in this country who could work with creative lyrics for hymns.

      • 스케줄링 알고리즘에 따른 협업 시스템의 성능 분석

        진동규 ( Dong-kyu Jin ),조성우 ( Sung-woo Cho ),조용연 ( Yong-yeon Jo ),김상욱 ( Sang-wook Kim ),오현옥 한국정보처리학회 2014 한국정보처리학회 학술대회논문집 Vol.21 No.2

        대량의 정보를 효과적으로 처리하기 위한 기술로 CPU 뿐만 아니라 iSSD 와 GPGPU 를 개별적으로 이용하는 연구가 진행되고 있다. 본 논문에서는 더 나아가 CPU, iSSD 와 GPU 를 협업시켜 프로그램 수행 성능을 향상시키는 방법을 연구한다. 이러한 이질 시스템의 협업을 위해 이질 스케줄링 알고리즘을 적용하고, 스케줄링 알고리즘에 따른 협업 시스템의 성능을 분석한다.

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      • KCI등재
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