데이터 분석을 통한 최적의 행복주택 입지 선정

서지수(Seo Ji Soo) 한국통신학회 2018 한국통신학회 학술대회논문집 Vol.2018 No.6

예비 창업자를 위한 향상된 골목상권 추천 및 분석 시스템

서지수(Ji-Soo Seo),공정환(Jeong-Hwan Kong),윤병철(Byung-Chul Yun),최진영(Jin-Young Choi),이석원(Seok-Won Lee),최영준(Young-Jun Choi) 한국통신학회 2018 한국통신학회 학술대회논문집 Vol.2018 No.1

Haydn Piano Sonata Hob.16:49 E-flat major, The Genzinger Sonata를 통해 살펴본 하이든의 음악적 수사법(Rhetoric)

서지수 ( Ji Soo Seo ) 전남대학교 예술연구소 2013 藝術論集 Vol.13 No.-

1. General idea of rhetoric According to the Oxford English dictionary, Rhetoric is defined as “1. The art of effective or persuasive speaking or writing.2.Language with a persuasive or impressive effect, but often lacking sincerity or meaningful content” It originates from Greek and Roman oratory whose main purpose was to persuade the audience. Rhetoric was a means to effectively deliver the orator`s ideas. Besides oration, rhetoric has long been associated with poetics and we know that poetics is full of the metaphors of language. Just as it is the goal of rhetoric in poetics to arouse certain feelings in the audience, so the goal of music is to move the listener. In music, rhetoric is perceived also an instrument of persuasion and often compared with oratory and poetics. In 1752, Joachim Quantz, the influential Baroque composer, remarked on the signs of passions in a musician as orator; “Musical execution may be compared with the delivery of an orator. The orator and the musician have, at bottom, the same aim in regard to both the preparation and the final execution of their productions, namely to make themselves master so of the hearts of their listeners, to arouse or still their passions, and to transport them now to this sentiment, now to that. Thus it is advantageous to both, if each has some knowledge of the duties of the other.” Johann Joseph Klein`s idea in 1783, as quoted in Mark Evan Bond`s book Wordless Rhetoric, summed up the idea of rhetoric in the eighteenth century and remarked of performer`s duties of being aware of musical-rhetorical devices and the affections; “Rhetoric and poetics are so closely related to the art of music that anyone wishing to study music seriously cannot afford to remain ignorant of them. All of these arts work toward a common goal: to master our feelings, and to give our passions a certain direction.” In the eighteenth century, music came to be described as a language. The best example of this was believed to be vocal music. Instrumental music was widely considered aesthetically inferior to vocal music. They believed that vocal music was reflecting emotions through the text while instrumental music, without texts, was considered to be vague, meaningless, and lacking in presentational content. Johann Christoph Gottsched was the best representative of view, saying, “Music alone, unassociated with words, lacks a soul and is incomprehensible; words must speak for it if one would know what it is that music intends to say.” Later, the early new German Romantics in the eighteenth century began to think that instrumental music had more power aesthetically; they though instrumental music, with the absence of specific images held greater power than vocal music because it was beyond the limits of the word. This was associated with infinite imaginations, so instrumental music was considered to be demanding and mysterious, and was the highest medium of artistic expression. Therefore, rhetoric became a more important element of elevating the aesthetic of music, and instrumental music`s expressive power was well associated with rhetorical ideas. Like orators, who had to manipulate verbal language in order to persuade their audiences, musicians, both composers and performers, also came to be responsible for expressing specific ideas. Composers accepted the image of music as a language readily. Quantz, in 1739, declared music to be “nothing other than an artificial language by which one makes one`s musical thoughts known to the listeners.” Also, the perception of a “speaking” quality of instrumental music was amplified by C.P.E. Bach. So music fundamental attitude toward music as a language was characterized as “Empfindsamkeit” which was a dramatic notion of mind and heart as unit. This notion in understanding music as a dialogue of wordless discourse was typical of many composers in the second half of the eighteenth century. Like his contemporaries in the eighteenth century, Haydn was also one who strongly wished to make instrumental music more persuasive, rather than just a pleasant diversion, by thinking of music as an oration. Even more distinctively from other contemporaries such as C.P.E. Bach and Mozart, Haydn consistently developed and emphasized his ability to present the most demanding artifices in a most efficient and comprehensible way. 2. Haydn`s rhetoric; topoi and figures Compared to Haydn`s work, in the 1750s to 60s, his work, in the 1780-90s, reflect more clear relationships among the composer, performer, and listeners in terms of its more interactive communication. Tom Beghin talked about ‘Composer and performer as a dual entity’ in his book, Haydn and his world. This idea was becoming accepted as general treatment in most of the late eighteenth century`s musical environment, especially for instrumental music. Composers substantially developed and invented a variety of rhetorical figures in the composition in order to deliver certain affects effectively to listeners, and performers had also an important role in delivering the composer`s expressions. C.P.E. Bach talked about the obligation of the performers to be able to transport him in all affects. In short, they must perceive in themselves the same passions as the composer. This relationship between composers and performers led music to have more persuasive gestures and emotions. The critical change of Haydn`s music-oratorical declamation in keyboard music seems more clear in accordance with his independent public life, from the 1780s. Also the growing music market was one other factor in Haydn`s time; in particular, his keyboard music became a focal point for educating women and socializing from the middle of the eighteenth century. In addition to a life long contract with the Esterhazy court, Haydn obtained contract with the Artaria publishing company in Vienna in 1779. It allowed him to sell his music by publication and turned his attention to a wider audience. Now, he considered his music as reaching both connoisseurs and amateurs, in other words, actual and potential audience of larger public. Also, the growing market for female amateur pianists in the 80s increased the demand for keyboard music. Haydn`s Keyboard music writing style got more focused on the popular appeal of the broad market. This focus accelerated a change in the concept from the ‘composer and performer as one persona’ to the separation of those as ‘composer and performer as separate entities’ It also led to greater attention to popular music, and his developing a greater concern for listeners. The purpose of Haydn`s rhetoric is to communicate between composers and listeners. The more persuasive, convincing and effective rhetoric employed, the more powerful and understandable the conversation gets. The first impression of Haydn`s music is normally described as simple, light and humorous. However, did he really intend to present just purely simple ideas? Or was his personality really humorous? Haydn is often described as a ‘clever orator’. He did appeal to the popular masses with simplicity; however, he also cleverly manipulates listeners under the guise of familiarity to lead them to unfamiliar ideas which he ultimately wants to drive. There comes the beauty of Haydn`s unique characteristic; Ignaz Theodor Ferdinand Arnold, one of Haydn`s biographers, noted that Haydn developed his music from universally recognized truth that everyone must be able to understand; but at the same time Haydn knows so cunningly how to use his statement to convince listeners what he desires. Haydn`s music is full of rhetorical figures in all his compositions. Moreover, the keyboard music especially represents his most intimate writing style. Therefore, it will be a good example to see his use of rhetorical topoi and figures. I will focus on the late keyboard work, Hoboken number 49, the ‘Genzinger sonata’ and look closely at rhetoric in the first movement. I found two forms of rhetorical content; humor and doubt. First, humor is a representative character of Haydn`s music. However, we should be careful not to understand the humor simply as a reflection of his humorous personality. Although it sounds fun, Haydn intentionally uses humor to attract listeners. He implies something that evokes a certain reaction from them; for example, like a smile after a joke, or surprises due to abrupt change. Most of his humor is created by juxtaposing conventional ideas with unexpected events so that it successfully distracts and catches their attention at the same time. The second rhetorical topos is a moment that casts doubt. However, it is a feigned expression of doubt that is usually combined with suspense and questions posed to listeners; we abruptly get lost and do not know where to go and what to say. In this sonata, I found many different kinds of rhetorical tools representing those two topoi. First, Humor; There are uneven phrase structures; when we listen to the first eight measures of the first movement, we readily recognize it`s a typical 4+4 phrase format, 3/4 metered minuet dance form. [mm.1-8] This minuet dance mood is supported by a lively bouncing gesture in the left hand, starting with the upbeat, and two quarter notes set on the first and second beats. This 4+4 phrase does not quite have a developing quality since the second phrase ends still in tonic. After shit 8 measure thematic idea, Haydn suddenly casts an unexpected running passage over a declamatory sustained triad in the left hand that totally subverts the listener`s anticipation. [mm.1-12] This unusual group of 12 measure at the beginning characterizes its humor by the juxtaposition of conventional and unexpected phrases and textures. In mm. 20-24, Haydn builds up curiosity only to make it dissipate. Several rhetorical devices create tension by getting stuck. First, there are repetitive sforzandi on the 2nd beat alternating with ‘p’. Next, there is step-wise chromatic descending motion at m.24. Further, the dynamics changes to ‘p’ at the end and it places a fermata there as well. [mm.19-23] All of these figures make listeners get involved to follow several short sighing effects. in the end, they feel it is humorous. Looking at mm.28-49, during the continuous Alberti figuration throughout the second theme area, which sounds obviously very pianistic, odd five measures in mm.37-41 are interjected. [mm.28-42] Suddenly the music sounds off-balance and suspends the previous animation, and also causes curiosity. In addition, the simple alternating motion between the right and left hands at m.39 adds to the both audible and visual sense of getting stuck. This five whole measures of stopped momentum catches listeners` attention and also arouse humor. This kind of dynamic motion is amplified by the actual motion changes in the pianist. The hand-crossing technique in mm.42-48 visually demonstrates folding and unfolding arm positions. This was unusual piano performance technique at Hayd`s time and it might have been difficult for amateur pianists at lower registers. Breaking the traditional role of left hand at the bottom and right hand at the top, this passage alternates the opposite roles of each hand. Besides playing with the hand`s reversed roles, this passage add to the excitement by repeating the folding and unfolding gesture, which adds more visual complexity. The hand crossing effect only occurs in the exposition and does not return in the recapitulation section. The overall effect ought to be quite humorous to listeners. Second category: Doubt The momentum gradually decreases in vibrancy starting at m.50. Short dotted chords alternate between hands and arrive on an Ab triad, as part of a deceptive cadence in C minor and suddenly stop. [mm.49-52] From the dominant, Bb major, to an Ab triad, and suddenly a complete stop? It is as if Haydn were questioning, ‘I am lost, where am i?’ After this casting of doubt, a complete silence follows. The most interesting feature of silence comes in Haydn`s autograph. [Please look at the autograph copy in page#5-6]; here, he placed a long blank at the bottom of the page and it implies that the performer must turn the page to continue. Considering very expensive manuscript paper at Haydn`s time, the almost half a stave blank implies that he deliberately put it to mean something. The silence becomes weightier because of the actual turning of the page, which takes even more time. It arouses a lot of curiosity from the listeners and tickles their imagination as they wonder: “what`s next? Where do I go?” At m.53, the Ab triad continues to repeat. Because it happens after a long pause, listeners almost lose the sense of meter. This repetition breaks the silence and accumulated curiosity resolves by Ger6 to the dominant in mm.57-58. The twelve measures of closing section in the exposition are grouped as seven plus five, which sounds off-balance. [mm.53-64] The non metrical sense of mysterious repeated triads and odd numbered measures of seven plus five create the confusing impression of the section. The first 16 measures of the development section is in a contrapuntal style, developing the motivic idea from the closing section. The style is normally considered as a ‘complex-learned’ quality of writing. However, this long and serious counterpoint ends with just a short stroke at m.80. [mm.65-80] This is higher level joke that wears a mask of seriousness, but throws it away at the end where nothing happens. The sudden stop with a stroke at m.80 followed by a long, vague sequential journey sounds like “it was just a joke.”; Thus, a totally humorous passage under his ostensible seriousness. Looking at the passage starting at m.108, approaching the recapitulation, it is full of feigned doubting figures; it increases the distance between the hands by shifting registers. [mm.108-115] The physical gap between the hands and the performer`s shifting body movement enhance the motion involved in the hand-crossing technique and visually challenges the listeners to track the stuck moment by repetition. And by delaying its resolution in mm.116-122 it creates even more expectation for the next unknown event. The listener asks “how much farther do we go? When do we arrive at the tonic? How do we return to recapitulation?” Lastly, hyperbole, or exaggeration, is another rhetorical effect commonly used by Haydn. It is well presented approaching the recapitulation; through specific accentuation; sforzandi on the 3rd beat in mm.117-121, dramatic dynamic and register contrast at in mm.122-123, rhythmic displacement in the form of hemiola in mm.128-129, and the improvisational passage of the Eingang at m.131, marked ‘a suo piacere’, which means ‘with freedom’. It commands the listener`s attention and is very effective in creating abrupt mood changes. You can hear all kinds of examples of hyperbole throughout all the movements of this sonata. I would like to share a quote from Quintilian, an ancient Roman rhetorician. He said “humor dispels the graver emotions of the judge by exciting his laughter, frequently divert his attention from the facts of the case, and sometimes even refreshes him and revives him” Although this statement originally applied to judicial oratory, it also implies the same for the Humor in musical rhetoric and oratory. We can simply substitute the “judge” with “listeners.” Exciting the listener`s laughter, diverting their attention from musical facts, and giving them refreshment seems to be Haydn`s ultimate purpose for using the topoi of Humor as well as Doubt. 3. Conclusion By giving an overview of the Haydnesque rhetorical features in this sonata, Now, I hope to illustrate a variety of devices Haydn employed to create particular effects in performance. The key to his rhetoric, I found, is unexpectedness for the purpose of awakening the listeners. The paradigm of ‘composer and performer as one persona’ had become already separated in Haydn`s time and seemed even more explicit in his later keyboard works. He interjected himself into his late compositions in order to address the listener`s attention; this resulted from the growing interest in keyboard music for female amateur musicians. Haydn cleverly developed his most refined rhetorical figures in order to appeal to his new audience. He learned to convey musical ideas effectively through measured rhetorical devices. In the end, the greatest Haydnesque pleasure is revealed through the topoi of Humor and Doubt. Placed within a modern musical environment, this raises a question for me; “how do I, as a performer, arrive at an intelligent performance of Haydn`s piano sonatas?” First of all, the instrument has changed from the Viennese fortepiano to the modern concert grand piano. The place for the performance has changed from a small private room or salon to a large public concert hall. Targeted listeners might also be different; this sonata is dedicated to Genzinger, but it was also published to be sold to others. We can assume it was performed in house or salon concerts, but it`s still not comparable to the modern massive audience. As for those critical changes in the modern environment, we tend to ask many kinds of controversial questions in performing Haydn sonata; for instance, How high and how soft a dynamic level should be reached, how much pedal is suitable? How do we interpret each articulation marking? How short should the strokes be? How much extra time should be pu in? To sum up those questions, we tend to ask quite often, “What is allowed.” I would think that nobody could give the exact correct answers to all those questions. Because, first, the musical environment is incomparable; second, even his autograph keeps inconsistent manner of writing. We cannot solely rely on Urtext edition to get the exact explanation of performance practice either. More critically, the modern grand piano sound effect is definitely different from Haydn`s time. The sensitivity Haydn pursued is already destroyed simply by the change of the instrument itself. We can not accommodate his particular favorite brand, the Schanz Viennes fortepiano. Even more sadly, we, performers and listeners, are very accustomed to the sound of the modern piano in terms of its loudness, deep action, and less sensitive sound. So we might not be accustomed to Haydn`s fortepiano`s light, sensitive, and soft voice. Even more, modern audiences are so broadly mixed with people who already know the music well or have no knowledge at all about the music, so that ‘targeting the audience’ might have a different meaning for today than Haydn`s concept of appealing to certain listeners of his time. We must look closely at Haydn`s shifting interests to the new keyboard. We must seek for the most suitable medium to explore his musical quality. More importantly, we must recognize his concern about the changing business market. We must realize this concern led him to use rhetoric to appeal to listeners. We can assume that we could adopt his changing concepts to a modern environment. Therefore, modern performers should be able to play Haydn`s music on the full sized Steinway grand piano in Carnegie hall in front of two thousand people. However, that does not mean that we can accommodate whatever we want in our performance. The most important aspect of Haydn`s unique character, rhetoric, should be kept. As long as we understand Haydn`s rhetoric and execute it effectively, it will guide us to an “intelligent performance of Haydn.” If we read Haydn`s mind in his compositions, seeing how he cleverly arranged rhetorical figures with purpose, we are able to find answers to the question of ‘how to perform Haydn`s music well.’ And we can successfully communicate with any audience in any environment. This might be the ultimate goal of Haydn`s music, since the beauty of classical music comes from the notion of being beloved to all times and places.

스케일링 교육경험 및 치과위생사의 태도가 치과공포에 미치는 영향

서지수(Ji-Soo Seo),황수빈(Su-Bin Hwang),정유빈(YuYeon Jung) 한국산업기술융합학회(구. 산업기술교육훈련학회) 2023 산업기술연구논문지 (JITR) Vol.28 No.4

구강병과 같은 만성질환은 정기적인 검진과 예방 시술을 통해 발생을 감소시킬 수 있다. 그러나, 치과공포로 치과치료가 필요할 때 내원하지 못해 구강건강관리를 하지 못하는 실정이다. 본 연구는 강원도와 경기도에 거주하는 20대 에서 60대의 성인 중 연구 참여에 동의한 297명에게 자기기입식 설문조사를 실시하여 치과공포도를 측정하고, 수집된자료는 SPSS 22를 이용하여 분석하였다. 치과공포도는 연령이 증가할수록 증가하였고, 스케일링 교육경험에 따라 공포도가 낮았다. 또한, 치과위생사의 스케일링에 대한 전반적 설명을 동반하거나 치과위생사의 친절도는 대상자의 공포도를 낮게 하는데 중요한 요인이었다. 이 연구의 결과로 대상자가 치과공포를 극복하고 치과에 내원하여 예방처치에 참여하여 건강한 구강에서 전신건강까지 관리할 수 있도록 치과위생사들의 구강보건교육이 더욱 활발히 이루어져야 할 것으로 사료된다. The incidence of chronic diseases such as oral diseases can be reduced through regular dental checkups and preventive procedures. However, some individuals are unable to visit dental clinics when necessary due to a fear of dentistry. A self-administered survey was conducted on 297 adults in their 20s to 60s living in Gangwon-do and Gyeonggi-do to measure dental fear, and the collected data were analyzed using SPSS 22. Dental fear increased with age however, it decreased with scaling education experience. In addition, the dental hygienist's friendliness and general explanation of scaling were important factors in lowering the subject's dental fear. Therefore, oral health education by dental hygienists is necessary to overcome the fear of dentistry, visit the dentist, participate in preventive treatment, and manage oral cavity and overall health.

노인가계 유형별 경제구조 분석

한수진(Han Su-Jin),서지수(Seo Ji-Soo) 가정과삶의질학회 2008 가정과삶의질연구 Vol.26 No.2

빅 데이터 분석을 통한 적합한 골목상권 선정: 음식업

공정환(Jeong-Hwan Kong),윤병철(Byung-Chul Yun),서지수(Ji-Soo Seo),최진영(Jin-Young Choi),이효철(Hyo-Cheol Lee),테레시아(Theresia Saputri),이석원(Seok-Won Lee) 한국정보과학회 2017 한국정보과학회 학술발표논문집 Vol.2017 No.12

Acrinathrin 외 농약 65종에 대한 독성시험의 분석 연구

김도훈 ( Do Hoon Kim ),변종수 ( Jong Su Byun ),김기훈 ( Ki Hoon Kim ),이민정 ( Min Jeong Lee ),배예지 ( Ye Ji Bae ),서지수 ( Ji Soo Seo ),한범석 ( Beom Seok Han ) 한국환경농학회 2021 한국환경농학회 학술대회집 Vol.2021 No.-

This study analyzed the ADI(Acceptable Daily Intake) of the toxicity assessment report on 65 pesticides including Acrinathrin, including 31 herbicides, 15 insecticides, 15 bactericides, 4 plant growth regulator and 1 herbicide safener registered in domestic country. NOAEL and ADI of pesticide toxicity study evaluated at domestic and foreign institute, toxicity study type based ADI instillation, grade of ADI level, major toxicity and target organ were analyzed. As a result, ADI analysis among agencies, the agency with the detail pesticide toxicity data is the Food Safety Commission in Japan(FSC, 53%, 44/66). Other agency is EPA, EFSA, JMPR, INCHEM, in that order. Major contents of the ADI difference among institution was the type of the toxicity test, modification of significant figures and safety factor. As for major toxicity study affecting ADI instillation, the combined chronic/carcinogenicity test was the highest 35%(23/66). Other toxicities were chronic toxicity, reproductive and developmental toxicity, carcinogenicity, repeated dose toxicity test in that order. As for the classification of ADI grade, a number of ADI range was usually confirmed in the 0.01 mg/kg bw/day<x≤0.1 mg/kg bw/day(38%, 25/66). The major target organ affecting ADI instillation was the liver(hypertrophy, vacuolar degeneration etc). After that, the brain(cholinesterase related lesions) and thyroid gland were listed in that order, and other organs were selected as target organs. Therefore, it will be contributed to evaluate the toxicological characteristics of pesticides by ADI classification and analysis of 66 pesticides.

영적돌봄 캥거루케어 프로그램이 미숙아의 신체성장 및 행동상태와 모아 애착에 미치는 효과

이예원(Lee, Ye Won),유별라(Ryu, Byeol Ra),김동연(Kim, Dong Yeon),황연숙(Hwang, Yun Suk),권혜민(Kwon, Hye Min),임이랑(Lim, E Rang),서지수(Seo, Ji Soo) 한국근거기반간호학회 2021 근거와 간호 Vol.9 No.1

Purpose: The aim of this prospective study was to evaluate the efficacy of kangaroo care and spiritual care with a holy name on maternal attachment, growth, and behavior pattern of infants. Methods: A non-equivalent control group pre-post quasi-experimental design was used. In total, 32 parents and infants who were admitted to a certified tertiary hospital were enrolled. The intervention group underwent a spiritual care program through kangaroo care for at least six sessions over two weeks for 30 minutes per session. Body measurements and behavioral state were measured by a nurse practitioner, and maternal attachment was measured using a self-reported survey. The collected data were analyzed with t-test, Mann-Whitney U test, 2 test, and repeated measures analysis of variance using SPSS 21.0. Results: The intervention group showed increased body weight, head circumference, and maternal attachment compared to the control group, but the difference was not statistically significant. Height (F=4.70, p=.039) showed significant differences between the two groups, but not between the groups over time. The intervention group showed a decreasing behavioral state, but there was no statistically significant difference between the control group and the spiritual kangaroo care group. Conclusion: The Kangaroo care and spiritual care program can be applied as a supportive nursing intervention for preterm infants in the neonatal intensive care unit.

노인가계 유형에 따른 경제구조 분석

서지수 誠信女子大學校 生活文化硏究所 2008 生活文化硏究 Vol.22 No.-

As Korea entered into the Ageing Society, this research performs a multi comparison between the age of old households and the economic structure according to their accommodation type as well as analyzing the economical structural difference of each types based on the features of aged households. Thus, the paper classified the aged households into 3 groups according to their age distribution: initial-staged aged groups (60-64 years old), middle-staged aged groups (65-70 years old) and latter stage aged groups (over 70 years old). In addition, the different economical structure was analyzed using the 2004 Korean National Statistical Office raw data and aged households were classed into six major groups. Through our research, the economic structure analysis according to the age of old households and accommodation type has shown as follow: First, the economical structural analysis based on the age of old households shown a statistical difference in the total, labor, business, property and transfer income variables according to each aged sample groups. Second, in the analysis of different economic earnings and expenses of initial and middle-staged aged households according to the age distribution group has shown a disparity in the total, labor, business, property and transfer income variables according to each aged sample groups. Third, in the analysis of difference in the expense provision and size of consumption, there was a statistical difference in the total consumption, food, dining out, electricity, water, furniture, kitchen supplies, clothing, shoe, education, culture and entertainment, transportation, communication and other consumption expense variables. Fourth, in the analysis of difference in the size of consumption expense, the initial and middle-staged aged households shown a statistical difference in the total consumption, food, dining out, electricity, water, furniture, kitchen supplies, clothing, shoe, education, culture and entertainment, transportation, communication and other consumption expense variables.