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盧珠采 명지대학교 예체능연구소 1993 藝體能論集 Vol.3 No.-
In Korea, cultural institutions and activities are entered in Seoul. As a natural consequence it follws that provincial cultural characteristics disappeared, moreover. it subordinate local culture to Seoul. To correct this cultural subor dination, this author presents some methods as follows. 1. An adequate spece for provincial cultural activities should be established. 2. The space should be managed with consistant and deliberate plans. 3. Cultural activities should be planned and administered by specialists in art administration. 4. Provincial cultural characteristics should be excavated and cultivated 5. The local tours of the special preforming companies, such as opera, drama, ballet and orchastra companies. should planned and administeried under the goverment subsides. 6. Provincial cultural spaces should be opened to students at least once a week. 7. students should be permitted to make their own stages.
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盧珠采 명지대학교 예체능연구소 1992 藝體能論集 Vol.2 No.-
It is important to practise vocal exercise in order to keep us in the best condition to sing before a performance. The singer should practise singing every day. But what is more important is that he should practise with scales fittest to the various songs, i, e., vocalize. The vocalize consists of the singing of melodie with vowel sounds or nonsense sillables rather than the text. This paper focuses on enumerading and examining the vocalized scales as well as the vocal terms and their usages, currently used in Italy, the country of song and opera.
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Schumann의 Liederkries op.39의 分析 硏究
趙鉅榮,盧珠采 관동대학교 1982 關大論文集 Vol.10 No.2
In many ways Robert Schumann represents the quintessential Romantic composer, with his emphasis on self-expression, his strong vein of liricism. His contributions are of special importance in the fields of piano music and song. Schumann's earliest surviving works are songs, and it is significant that, although he published none ofthem himself in that form, he used some of the material with little alteration in piano works which he did publish. All the works published untio 1840's are piano works, and so we can imagine that among his compositions the piano works hold the important part, and that, therefore, the piano part of the Liederkreis(op.39)-we generally call this part accompaniment-plays a very important role in this Lied as if it were compositions for piano, Schumann's characteristics in the harmonic progression are in the frequent use of chromatic harmony, and the unexpected changes of key, and the effective use of non-harmonic tones, By syncopation, which is main distinguishing mark in Liederkreis op.39, he expresses his strong vein of liricism. He often but uncommonly uses cross-relations between pulse and beat. Such a harmonic and rhythmic progression, mentioned above, forms conecion with vocal melody and series of verse by Eichendorff musically. In chapter one, involves the purpose, and the effect of study. In chapfer two, makes observation about music historical baokground, and translates the verses by Eichendorff into Korean, and analizes harmonic progression, and views rhythmic style, and relations between vocal part and piano part, and relations, between verse and music especially in Lied. In chapter three, concludes by the results of analysis and study on Liederkreis op.39.
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