New Approaches to Xerostomia with Salivary Flow Rate Based on Machine Learning Algorithm

이연희,이연희,어규식,박희경 대한치의학회 2023 Journal of korean dental science Vol.16 No.1

Purpose: We aimed to investigate the objective cutoff values of unstimulated flow rates (UFR) and stimulated salivary flow rates (SFR) in patients with xerostomia and to present an optimal machine learning model with a classification and regression tree (CART) for all ages. Materials and Methods: A total of 829 patients with oral diseases were enrolled (591 females; mean age, 59.29±16.40 years; 8~95 years old), 199 patients with xerostomia and 630 patients without xerostomia. Salivary and clinical characteristics were collected and analyzed. Result: Patients with xerostomia had significantly lower levels of UFR (0.29±0.22 vs. 0.41±0.24 ml/min) and SFR (1.12±0.55 vs. 1.39±0.94 ml/min) (P<0.001), respectively, compared to those with non-xerostomia. The presence of xerostomia had a significantly negative correlation with UFR (r=–0.603, P=0.002) and SFR (r=–0.301, P=0.017). In the diagnosis of xerostomia based on the CART algorithm, the presence of stomatitis, candidiasis, halitosis, psychiatric disorder, and hyperlipidemia were significant predictors for xerostomia, and the cutoff ranges for xerostomia for UFR and SFR were 0.03~0.18 ml/min and 0.85~1.6 ml/min, respectively. Conclusion: Xerostomia was correlated with decreases in UFR and SFR, and their cutoff values varied depending on the patient’s underlying oral and systemic conditions.

音感敎育과 솔페쥬의 類型

李姸熙 서울敎育大學校 1983 論文集 Vol.16 No.-

We have emphasized that students learn as a result of musical instruction only if they are directly involved in meaningful experiences with music. Analysis of musical experiences has resulted in the identification of five avenues to musical learning: performing, hearing, feeling, discrimating, and knowing. These avenues are distinguished from the products of musical learning in that the avenues are viwed as means to musical learning while the products represent the ends or results of musical learning. In this case auditory education and solfege are basic patteon for teaching procedures. Performing includes playing, singing, reading music, writing music, and composing music. Performing provides experience in projecting musical meaning, and such experience is essential to the development of a deep responsiveness to music and of musical understanding. It generates a unique level of involvement with music and enthusiasm for it, both of which are basic to successful learning of music. The avenue of hearing leads to the development of precise listening skills, the primary basis for all musical achievement. The avenue of hearing embraces such experiences as hearing one's own part in relation to other parts, hearing respetition and contrast in melodic, harmonic, and rhytmic motion in music, relating tonal movement to the tonality, identifying the characteristic sounds of instruments and voices, and recognizing the elaboration and development of thematic material. Discriminating means making judgments about music. Relevant topics for experiences in discriminating include the quality, expressive purpose, style, and how one composition is related stylistically to another. The avenue of feeling involves the aesthetic dimension of musical experience and leads directly to appreciation. It provides the means by which music education becomes aesthetic education. Music education as aesthetic education is education in the affective domain. It takes place when students have experiences with music that enliven their spirits and touch their hearts. The avenue of knowing involves the cognitive domain. Cognition in connection with musical experience enables the student to gain and use significant information from and about the music hi is experiencing. As a result of cognitive expertence associated directly with musical experience, he forms musical soncepts and develops musical insight. The bases of teaching methods with solfege include the nature of music and the musical experience, the objectives of instruction, the nature of the learning preocess, the maturational leven, part experience and present needs and interests of students, and teacher competencies. The teacher mus take all these varied and complex factors into account and devise taching methods in terms of his own unique situation.

Beethoven의 《c단조 피아노 협주곡》에 나타난 樣式的 特性

李姸熙 서울 敎育大學校 1985 論文集 Vol.18 No.-

Beethoven hat sein drittes Klavierkonzert and der Schwelle seiner zweiten Schaffensperiode, in der sich die Hinwendung zur groβen Symphonik vollzog, geschrieben. In dem c-moll-Konzert tritt erstmals das Orchester dem Klavier als gleichberetigter Partner gegenuber. Die Darstellung des musikalischen Geschehens vollzieht sich in einem symphonisch gestalteten Dialog zwischen Solisten und Orchester. Die Erfindung ist von junglinghafter Kraft und Frische, die Verarbeitung der musikalischen Gedanken von geistiger Reife. Die feinnuancierte Dynamik tragt nicht zuletzt zur Bereicherung der klanglichen Wirkungen ber. Der 1. Satz hat heroisches Geprage. In starkem Kontrast hierzu, der sich schon in der ungewohnlichen Gegenuberstellung der Tonarten c-moll/E-durauβert, steht die teils traumerisch-zarte, teils uberchwengliche Diktion des Largos, dessen Schuβakkord im ff subito in die irdische Ausdruckswelt zuruckfuhrt. Ein glanzend flieβendes und vital gesteigertes Rondo mit einem lebendigen Hauptthema, dem in den Ziwischengruppen ein heiterer und ein kantabler Gedanke zugesellt sind, schlieβt das Werk ab.

音樂敎育에 있어서의 卽興演奏에 關한 硏究

李姸熙 서울 敎育大學校 1981 論文集 Vol.14 No.-

Improvisation is the art of performing music spontaneously, withouth the aid of manuscript, sketches, or memory. Also, in a more restricted sense, the art of introducing improvised details into witten compositions. The former is a phenomenon so evanescent thatit defies documentation and detailed detailed description. This is a branch of the musical art that was for centuries considered to be of the highest importance yet has now dwindled to insignificance amongst serious musicians. This is true, at least, of the great days of improvisation, when masters such as Bach, Handel, Mozart, and Beethoven were as famous for their improvising as for their written compositions. Today, the tape recorder could readily make a permanent record of such performances. However, the great art of improvisation has been lost, since it is no longer practiced by composers and survives chiefly among organ virtuosos. Many prople have never reflected on the intolerable loss of time in notatint musical thoughts. A passage that in performance is to to through like a flash may take ten or fifteen minutes. to notate, indeed, there is no Largo so slow that to play it takes as much time as to notate it. Hence, in composing, the musician has to be in two formance and that which laboriously undertakes to record its details, and it is possible that this conflict of speeds is an embarrassment to many composers, reducing their effectiveness by a percentage at any rate, in the more emotional types of composition. It is doubtless for this reason that some composers have formed the habit of working out all minute details in their minds before setting them on paper, and it is quite possible that some of the greatest composers, when expressing themselves in immediate sound, have done so in a different way from that of the lamp and the study. In conclusion, it many be recalled that there is one educational system today which requires the development of the improvising faculty in all its teachers, the Dalcroze syrtem, and that, in the United States, at all events, the attempt has been made to teach composition through improvisation-on the analogy of our learning first to speak our own language freely and afterwards to write it.

포토보이스를 통해 본 결혼이주여성의 학업 동기와 전략

이연희,임명희,서재복 교육종합연구원 2025 교육종합연구 Vol.23 No.3

본 연구는 한국 사회에서 자발적으로 학업을 지속하는 결혼이주여성의 학습 동기와 경험, 전략을 포토보이스 기법을 통해 탐색하고, 교육 정책 개선 방향을 제시하는 데 목적이 있다. 연구문제는 결혼이주여성들이 학업을 시작하게 된 동기, 학습 과정에서의 제약과 극복 전략, 그리고 학업이 삶에 미친 영향에 관한 것이다. 연구 참여자는 다양한 국적과 배경을 지닌7명의 결혼이주여성으로, 이들은 검정고시, 자격증 취득, 평생교육, 고등교육 등 다양한 학습경로를 경험하였다. 포토보이스(Photovoice) 기법을 활용해 총 5회기 동안 심층 면담, 집단 토의,교육 현장 관찰을 실시하였다. 분석 결과, 학업의 여정’, ‘계속되는 이유들’, ‘낯선 교육익숙한 책임’, ‘균형을 감당하는 하루’, ‘삶을 향한 실천들’ 등 5개의 대주제와 11개의하위주제가 도출되었으며, 참여자들은 자국 학력 불인정, 언어적 한계, 돌봄 책임 등 한국 사회에서 인정받지 못하는 현실 속에서도 학업을 통해 자아정체성을 재정립하고 사회적 관계망을확장하였다. 전문 용어, 생계와 돌봄의 부담 등 여러 어려움에도 불구하고 학업을 통해 자아실현을 추구하는 학습 주체로 성장하고 있었다. 본 연구는 자국 학력·경력의 제도적 인정, 돌봄지원 체계 강화, 지속 가능한 학습 환경 마련의 필요성을 제언하며, 결혼이주여성을 수동적 수혜자가 아닌 능동적 학습 주제로 재조명하여 다문화 교육 및 평생교육 정책의 기초 자료를 제공한다.

항생제내성기전

이연희 한국미생물학회 2002 微生物과 産業 Vol.28 No.2

경질 초음파를 이용한 급성 충수염의 진단 : 2례 보고 2 Case Report

이연희 단국대학교 2000 論文集 Vol.35 No.-

Acute appendicitis is the most common acute abdominal codition requiring surgery. The combination of symptoms, signs and laboratory values may, however, be equivocal in approximately one-third of patients with acute appendicitis. Transvaginal ultrasonography(US) is a noninvasive, readily available imaging technique that has greatly enhanced diagnostic sensitivity and accuracy for both gynecologic and nongynecologic diseases comparing to conventional transabdominal US. In women of childbearing age, the similarity of symptoms in gynecologic and gastroimtestinal tract diseases in particular underscores the potential utility of transvaginal US. Therefore the auther reports the cases which show the value of transvaginal US in the diagnosis of appendicitis in a pelvic appendix.

2000학년도 신입생의 정신건강 분석

이연희 청주대학교 학생생활연구소 2000 學生生活硏究 Vol.22 No.-

청주대학교 재학생 진로 및 취업 의식조사

이연희 청주대학교 학생생활연구소 2009 學生生活硏究 Vol.31 No.-

우리나라 설화에 나타난 수목종류와 한국인의 수목관

이연희,김기원 한국인간·식물·환경학회 2013 인간식물환경학회지 Vol.16 No.5

This study was carried out to infer the Korean view of trees by analysing tree species, appearance frequency of trees and meaning of trees in stories that has been passed on orally. But, it is focused on only stories that tree is main motif of the story. The results of this study are as follows. Most frequently shown tree is Pinus densiflora. It shows that Pinus densiflora. has a close relation to the life and culture of Korean. Also, familiar trees which are closely connected to daily life such as Ginkgo biloba, Zelkova serrata, Phyllostachys bambusoides, Salix koreensis. and fruit trees used to appear. And hardwoods are more frequent than conifers. It indicates that hardwoods are more familiar with people than conifers. From the analysis of meanings of trees in stories, it shows that trees are the source of life, richness, and happiness and magical symbols that let people realize the way of the world. Also, trees are targets for communicating with people by personifying. 한국구비문학대계 49편, 한국구전설화집 85편, 삼국유사 수록 14편에 수록된 148편의 수목설화에 나타난 나무 종류와 한국인의 수목관을 조사하였다. 그 결과를 정리하면 다음과 같다. 첫째, 설화에 소나무가 가장 많이 나타나 소나무는 우리 민족의 삶과 정서에 밀접한 관련을 맺고 있는 나무임을 알 수 있다. 둘째, 은행나무, 느티나무, 대나무, 버드나무, 유실수 등과 같이 생활과 밀접히 관련 있는 생활권주변의 친숙한 나무들이 주로 등장하였다. 셋째, 활엽수가 침엽수 보다 훨씬 많이 나타나 활엽수종들이 민중들에게 보다 친숙했음을 알 수있다. 넷째, 설화 속 나무의 형상을 통해나무는 생명의 원천이자 세상의 이치를 깨닫게 하는 신성한 능력을 지닌 주술적 상징물로서, 나무를 인격화하여 인간과 교감 및 소통의 대상으로서, 나무의 강한 생명력과 번식력, 재생력을 통해 풍요, 다산, 다복의 상징물로서 인식되고 공유했음을 확인하였다. 본 연구는 한국인의 나무나 숲에 대한 태도 또는 인식을 직접적으로 남긴 문헌이나 기록이 미비한 상황에서 수목에 대한 관념이나 견해를 설화를 통해 간접적으로 유추했다는 데 의의가 있다. 또한 현재 산림치유나 원예치료 등 자연물을 대상으로 국민건강을 도모하기 위한 프로그램 개발의 시도가 활발히 이뤄지고 있는 반면, 현장에 적용할 프로그래밍 소재 발굴에 어려움을 호소하는 경우가 많다. 이와 같은 상황에서 우리 전통문화에 등장하는 소재들은 참가자들에게 좀 더 의미 있고, 유익한가치를 제공하는 기회가 될 수 있을 것이다. 따라서 본 연구에서 도출된 결과들이 향후 산림문화자원을 활용한 프로그램 개발에 기초자료로써 유용하게 활용될 수 있기를 기대해 본다.