중국의 국유기업제도 개혁과정에 관한 연구

백권호 계명대학교 국제학연구소 2000 국제학논총 Vol.5 No.-

The reform of state enterprise system has been the foremost part of the reform process in China since she had proclaimed often door policy together with economic system reform at December 1978. Even though it is generally being accepted that the system reform has been quite successful in China comparing with those of other former socialist countries in once-called eastern europe before, there is no clear evidence yet to have succeeded specially in the field of state enterprise reform. So China has been executing three major reform programs as a millenium project in the sectors of state enterprise system, financing market rood governmental organization that are quite closely interrelated one another in the viewpoint of governance structure of state enterprise system. Since 1992, the year when China has defined her economic system as socialistic market economy or market economy of socialism, she has been experimenting a thoroughly different system's reform from the conventional system of socialism in terms of social paradigm or ideology. The focal point of this reform process is introducing a market for property rights combined with a capital market. This paper tries to review all the reform process of Chinese state enterprise system from 1978 when starting her system's reform at the viewpoint of 'ser-M' approach developed by Cho & Lee(1995). In this approach, 's' denotes as a CEO(subject) of a firm, while 'e' as business environment and 'r' as resources of a firm respectively, where 'M' means for interaction mechanism among above three factors. This paper suggests that the process of reform for chinese enterprise system is on the verge of drastic chage in terms of governance structure from power delegation to limited corporation. The proclamation of market economy including capital & property one makes it possible for China to reform the state enterprise system into contemporary limited corporation system. The reform of labor market which not only external but also internal including CEO's, also plays a very important role as a pushing factor for the state enterprise reform. Finally, stepwise and try & error-based reform process makes it possible for China to minimize a transaction cost of purchasing(or selecting) a reform product for institutional change thru learning mechanism.

經濟發展과 經濟文化 要素의 關係에 관한 中日間 比較

白權鎬 계명대학교 국제학연구소 1997 국제학논총 Vol.2 No.-

선사시대 儀禮와 사회적 性(gender)의 고찰

金權九 동아대학교 박물관 2000 考古歷史學志 Vol.16 No.-

대중국 투자 한국계 기업의 경영성과 요인분석

백권호 계명대학교 국제학연구소 1996 국제학논총 Vol.1 No.-

PM 공간에서 공통 부동점 정리

정권수,조정구 順天大學校 師範大學 附屬 科學敎育硏究所 1994 科學과 敎育 Vol.2 No.-

PM 공간에서 타입 (A)의 양립 사상의 성질을 이용하여 Fisher의 일반화된 축소 사상의 조건을 만족하는 사상들의 공통 부동점 정리를 증명하였다.

現行 男唱 平調歌曲의 노래施律型 硏究

송권준 부산대 예술대학 1996 藝術論文集 Vol.11 No.-

Korean traditional lyric song (Kagog 歌曲) are sung in two modes- Pyoungio (平調, the other name-ujo 羽調) and Kyemyounjo (界面調)-and in two styles, sung by male and fermale. The Pyoungio Kagog by male are all 13 tunes. Almost of precedent studies on Kagog are dependent upon ancient notes for Keomungo (玄琴). Therefore the result of studies on kagog is by accompanied melody of Keomungo only. This study is on the melody pattern of 13 songs in Pyoungio by male. Through this reserch 14 melody patterns were founded. The song Isudayoub (貳數大葉) and Tugeo (頭擧) is consisted of these patterns all (100%) of melody. In case other songs as follow ; ◁표삽입▷(원문을 참조하세요) It was founded that cadence is related with construction of poetry and melody. Properly division of chapter is determined by cadence. The form of song in kagog is A-B-B´ -C-B˝.

現行 男唱歌曲의 노래선율 硏究

송권준 부산대 예술대학 1997 藝術論文集 Vol.12 No.-

Korean traditional lyric song (kagog 歌曲) are sung in two modes- pyoungjo (平調, the other name-ujo 羽調) and kyemyounjo (界面調)-and in two styles, sung by male and female. The pyoungjo kagog by male are all 11 tunes and the kyemyounjo are 13. Almost of precedent studies on kagog are dependent upon ancient notes for keomungo(玄琴). Therefore the result of studies on kagog is by accompanied melody of keomungo only. This study is on the melody of all songs in kagog by male. It was founded that cadence is related with construction of poetry and melody. Properly division of chapter is determined by cadence. There are three lineage in pyoungjo kagog. - isudaeyop 貳數大葉 lineage ; isudaeyoup 貳數大葉·junggeo 中擧·pyounggeo 平擧·tugeo 頭擧·wooling 羽弄·panyoup 半葉 - lak 樂 lineage ; woorak 羽樂·ollak 言樂 - pyoun 編 lineage ; woopyoun 羽編·pyoullak 編樂 Also there are three lineage in kyemyounjo kagog. - isudaeyop 貳數大葉 lineage ; isudaeyoup 貳數大葉·junggeo 中擧·pyounggeo 平擧·tugeo 頭擧·taepyoungga 太平歌·panypoup 半葉 - nong 弄 lineage ollong 言弄·pyoungnong 平弄 - pyoun 編 lineage pyounsudaeyoup 編數大葉·ollpyoun 言編·pyoullak 編樂

영산회상의 관악기 시김새에 관한 비교 연구

宋權準 부산대학교 예술대학 1989 藝術論文集 Vol.5 No.-

24 sorts of Sigimsae(ornaments) were used in Yongsanhoesang. 19 sorts of these were used for Taegum, 14 sorts of these for Piri and 12 sorts of these for Haegum. Various ornaments appear the most affluently in Taegum melody. Second Piri melody has much ornaments more than Haegum. In slow tune (Sangyongsan, Chungyongsan) various ornaments appear frequently and affluently, in quick tune (Taryong, Kunak) they appear in conrast with slow tune. Ornament ∧ is used the most frequently among 24 ornaments, then comes ornament □□, ㅅ, 9, ㄷ, ㄱ and 6 in that order. Each of ornaments has a special function. Ornament ㅅ, □□ and h are used for horizontal tune, ornament ㄴ, □□, h, □□, 6, I and □□ are used for downward tune, ornament ∧, ㄱ, □□ , 9 and □□ are used for upward tune. Ornament □□, □□, and □□ are used for upward or downward tune. Ornament ㄷ is used for start of phrase and □□ is used for end.

여창가곡 노랫말의 四聖·連音標·음높이

송권준 부산대 예술대학 1999 藝術論文集 Vol.14 No.-

The Korean traditional lyric songs(kagog 歌曲) are precious musical properties. The plentiful properties are amounted to 664 male song and 190 female songs in kagogwollyou 歌曲源流. But because of imperfective notation 連音標 these songs can not revive. This study is on the intonation 四聲, notation 連音標, pitch 音高 of the words in the female lyric songs 女唱歌曲. The relationship of this three essential elements is very important to revive the songs. The purpose of this is an effort for revival the lyric songs. As a result of this study the following facts become clear ; In pyoungjo 平調 low sound mark( ( ) is related with low sound word 平聲, the main pitch is b^(b)林. Middle sound mark(│) is related with high sound word 去聲, the main pitch is c 南, f' 汰. High sound mark (/) is related with abrupt sound word 入聲, the main pitch is ab 중, c' 湳, e^(b') 황 . In kyemyounjo 界面調 low sound mark( ( ) is related with low sound word 平聲, the main pitch is b^(b) 林. Middle sound mark (│) is related with upper sound word 上聲, the main pitch is e^(b') 潢, a^(b') 중. High sound mark(/) is related with abrupt sound word 入聲, the main pitch is b^(b') 淋, e^(b) 황".

한국음악 선율의 多音性(Mehrstimmigkeit)연구 : 영산회상에 기하여

송권준 부산대학교 예술대학 2003 藝術論文集 Vol.17 No.-

Recently the issue, of special feature of melody line in Korean traditional music, was proposed. As a new idea "mehrstimmigkeit" was proposed instead of "heterophony" of melody line in Korean traditional music. As a result on study of mehrstimmigkeit of Yeongsanhoesang 靈山會相, the representative instrumental music, there are three types of mehrstimmigkeit. The three types are two-tones, three-tones, four-tones type per one beat in five instrumental melody, Daegun 大琴·Piri??·Haegum奚琴·Gayaeum伽倻琴·Geomungo玄琴. The melodies of mehrstimmigkeit form 41% of all in Yeongsanhoesang. And two-tones type of mehrstimmigkeit form 31%. three-tones type 9.4%, four-tones type 0.6% of all. The most colorful tune among 9 tunes Yeongsanhoesan is Sanghyeondoduri. On the contrary the most monotonous tune is Garakdeori. The most numerous type of between each instrumental melody in two-tones type is "wind melody:string melody", for instance "Daegum·Piri·Haegum:Gayagum·Geomungo" The most numerous type of between each instrumental melody in three-tones type is "wind melody(Daegum·Piri·Haegum): string melody(Gayagum):string melody (Geomungo)". In four-tones type there are a few types but no peculiarity. The "mehrstimmigkeit", a special feature in Yeongsanhoesang melody line, explains Hwa-I-Bu-Dong和而不同(means harmony of dissimilary) in Korean traditional music.