트로프로부터 전례극까지의 역사적 개관

박을미 부산대학교 예술대학 2005 藝術論文集 Vol.19 No.-

Throughout the history of music, musicians have constantly tended to borrow and rework preexistent music. Likewise, many new musical forms and styles evolved by the same practice. One of the best examples of this phenomenon can be seen in the development of trope, sequence and liturgical drama from a preexisting chant. The trope is the expansion of a chant, either by adding new music or words, or both to existing chant. Tropes were added mostly to the Introit, Offertory, and Communion, and also to the items of the Ordinary except the Credo. Tropes in the Offices most frequently occur in the responsories and Benedicamus Domino. The sequence also evolved from the practice of troping. It began as a melismatic musical trope(sequentia) to the jubilus of the Alleluia, to which poetic words(prosa or prosula) were later added. Sequentiae soon became detached from Alleluias and were written as independent sequence. Just as the trope and sequence had grown out of religious chant, so the liturgical drama grew out of the 10thc trope preceding the Introit of the Mass for Easter. The original trope in dialogue form - 'Quem quaeritis' - represents the three Marys coming to the tomb of Jesus. 'Quem quaeritis' soon became more elaborate, with an expansion of the dialogue between the Marys and the angels, or the addition of more roles. The idea of the Easter play was quickly adapted to other events in the Church year.

1600~1750년경의 Keyboard sonata의 변화 과정

김인일 부산대 예술대학 1998 藝術論文集 Vol.13 No.-

The sonata style of the Baroque period can be generalized, the most consistent traid besides the use of continuo is the tendency towards motivic play the frequent passing about of a melodic fragment rather than phrase grouping. In the early Baroque Sonata style represent at its best by G.B, Buonamente, the forms are single-movement or multi-sectional, in the manner of the canzona. In the middle Baroque, represented by Corelli, the multi-sectional forms that can be called movements. It was very contrasted as tempo and music style on structure, and favored four movements as [slow-fast-slow-fast] on 'Sonata da Chiesa' and 'Sonata da Camera'. There are many contrafuntal style in music of Sonata in Baroque period like 'Canon' and 'Fugue'. And used many dance like style in Gigue or Minuetto as last movement. In the late Baroque sonata was much confusing in 'Sonata da Chiesa' with 'Sonata da Camera'. There are same music materiel in movements as [slow-fast-slow-fast] and same tempo's name in sonatas. Constrduction of sonata formes in late Baroque, sometimes the final section repeated or resembled the first section, both in early multi-sectional canzonas or sonatas and Venetian, usually five-movement sonatas of Legrenzi. And same method as one movement of D.Scarlatti sonatas. In the last movement of late Baroque Sonatas, has from Gigue like as dance style structures to Minuetto and Rondeaux by whom through J.S.Bach, J.A.Hasse, C.Wagenseil, G.Benda and J.C.Bach, but not yet come out accurate sonata-allegro forms still Wiener Classic period like Haydn and Mozart's Late Sonatas.

큐비즘의 현대적 시선

김해성 부산대학교 예술대학 2004 藝術論文集 Vol.18 No.-

문신의 작품세계 : 藝(예)와 예(禮)의 관점에서

김해성 부산대학교 예술대학 2005 藝術論文集 Vol.19 No.-

Liszt, Mephisto Waltz, No.Ⅰ의 演奏 解釋에 關한 考察

金仁一 부산대학교 예술대학 1986 藝術論文集 Vol.3 No.-

We know the Franz Lisat as a most important virtuoso pianist and composer of Symphonic poem with thematic transformation and cyclic form in the nineteenth century. His last important orchestral work accomplished at Weimar was made out of the two episodes from Nikolaus Lenau's Faust. Liszt's second episode has been known as the well konwn First Mephisto waltz. The piano version of the First Mephisto Waltz, combined with excitement and sensuality, is a made of the Romentic period, and some of harmonic progression in its quieter middle section anticipate the music of Mysticism. We can see another example of the Program music in the First Mephisto Waltz, and have a stroy of the epic or dramatic feeling through marvellous virtuosic technic of employing the full range of the keybord over measure 800-814, of playing heavy chordal passage over measure 275-298 and of skipping widely by the Thematic Transformation over measure 772-791. We get much idea of the piano playing of the Liszt's First Mephisto Waltz by means of music disc of the contemporary famous pianist's playing such as Lazar Berman, Vladimir Horowitz, Van Cliburn, Jorge Bolet, Earl Wild, David Bar Illan, Vladimir Ashkenazy and France Clidat. There is full dramatic sonority in Vladimir Horowitz's combination of tempo rubato and pedaling, a fast driving skilled technique of the twentieth century by Vladimir Ashkenazy and France Clidat, standardized playing of Listz's piano music by Jorge Bolet and Earl Wild's dynamics, and useful fingering of Vladimir Horowitz and Jorge Bolet at measure 109. We must know sharing with hands the technical elements of scale and the arpeggio line over measure 696 and 814.

正樂 演奏時 音程과 音高의 測定 : 독주곡을 중심으로

金吉雲 부산대학교 예술대학 1992 藝術論文集 Vol.8 No.-

관현악곡 낙동강 : 부산시립국악관현악단 위촉작품

황의종 부산대 예술대학 1994 藝術論文集 Vol.10 No.-

해금 협주곡 제1번

黃義宗 부산대학교 예술대학 1989 藝術論文集 Vol.5 No.-

시각전달을 위한 기업심볼마크 제작에 관한 연구 : C.I.P. 도입과 제작과정을 중심으로 As the central figare of C.P.I. introduction and production process

박정원 부산대학교 예술대학 1989 藝術論文集 Vol.5 No.-

In these days are age of tarrent of information. Accordingly, it is very difficult whether individual as well as enterprise to be objectified their practice clearly. So that inducement of C.I. make the enterprise identify and the concerned group which contact to the Substance Would make recognize that through the desirable enterprise result and substance of enterprise of every Communities are identity, and have recognize their situation of various type of business activity belongs to the enterprise. And that, the act that could discriminate Symbolism Claerly with other enterprises. The necessity and effect of expectation of C.I. is as follows: First ; Nowadays, in the view of the age of enterprise's Communication, we require to induce C.I. The manufacturing technique was egualized and products were equalized, accordingly, it is difficult to distinguish the distinction according to the quality and price, and that the life-Cycle also becoming Shortened, so that the enterprise's image was interacted by the factor of purchase motives rather than products itselves. We could reduce minus factor which derives from the adaptation of Circumstance and caming from the partial Communication, and Systematically, and at the point of whole enterprises, there would recognize the enterprise's communication efficiency highly. Accordingly, by inducing C.I. System, We could attain collective information effectiveness purchase, Operation, investment, accumulated effect and ascensive effect from the business management by the unified imagination of enterprise's external management. Second ; as of today's marketing, We could find out the necessity of C.I. inducement. This also, enterprise respond for the social responsibility and inducement is a seuse of protection and maintenance of both industry as well as human living ; therefore, if we think enterprise's point of view, the subject is how to control certain minus factor which destruct our living environment (business environment) and improve toward benificial opportunity and at the people's point of view, We explain a sense of marketing as the subject of how to pursuit profit of enterprise by utilize to the peoples benifit. As it were, enterprises ougut to perfarm their establishment of enterprise's doctrine and activity by ful-fill their social responsibility. In case of if not so, business activity itself will become difficult, So that, as a part of marketing activity which appear social characteristics require enterprise's communication and it is evident that the necessity of C.I. is a part of enterprises communication.

聖畵의 靈的世界(Ⅱ)

金永吉 부산대학교 예술대학 1986 藝術論文集 Vol.3 No.-

The happiest thing for me is the fact that I'm a christian. I'm proud of it. So I have the strongest sourse of support in my Lord, It drives out any fear from my heart. Whenever I meet a person who has his pride in his power of money I feel him foolish and miserable. When I began to have painted the relgious picture. It's the way far from the fame. But I'm happy in this way. Some freinds of me wonder why I take an unprofitable course of the narrow religious painting. In fact I didn't and wouldn't sell my works very much. I'm satisfied in my way and so have no appetite for the profitable landscape or flower and bird painting. Something it makes one feel awkward to draw the religious picture in the style of the oriental painting. Some of my senior painters tried this method but they described a person in the attire of Korean clothes which gave the feeling of a genre picture or a comic picture. The religious picture is for all the people in the world. It should give them a same feeling as a religious picture at any place in the world. So I abolished the ethnic features from my picture and sublimated it according to the modern sence. Myay painters take the same way of ethnic method of a figure picture of a landscape which has the root in the 500 year past of Yi-dynasty. But God gave me another insight and special mission. Whenever I think that he gave me such responsibility among many excellent painters, I feel fear as well as thankfulness. So I try to do my best and be diligent as if there were 48 hours in a day for me. I trust in God that he will not send me from the first to the last. I myself take pains to keep my position and to do my duty. I believe that the purskit after the honor, power, and position in the world can not take the place of the wisdom to be near God and the first position given by him. In the name of Jesus. A-men.