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송혜진 ( Hye Jin Song ) 한국동양예술학회 2012 동양예술 Vol.20 No.-
In politics, music has been exploited as one method used to govern a country. In the ancient document, Akki, Ye-ak (the formal practice of human ethics and music) is defined as the root ideology used to govern the country, and politics can be comprehended by the understanding of music. Based on various examples related to the exploitation of music in politics in the history of Western society, the notion that music is political whether fair or foul has been current for a long time in western society as well. Therefore, the relation between music and politics is surely very close. If we look at aspects of music based on a political view, some music takes on the role of propaganda while other music is prohibited. Also, some musicians use their music to praise somebody or something while others use their music to oppose. Music is a language of emotion. It induces and releases the emotion of human beings. At the same time, it also purifies and encourages people``s emotion, and delivers a message. The characteristics of music as a language of emotion have been recognized from ancient times. Therefore, during the Joseon dynasty, the state assorted music into several various kinds such as music that should be promulgated and distributed, and music that should be rejected. It was regarded as an important matter that the leader of the state understood ``healthy music``, ``music that is suitable for education``, and ``correct music``, and thus guided the people to the realm of ``correct music``. From the early Joseon dynasty, Ye-ak (thought based on Confucianism) was regarded as the basic ideology of society. The realization of politics with human ethics and music was a significant issue since the early years of the dynasty. Therefore, in this period, the organizing and institutionalization of the state``s ceremonial music based on this ideology was a matter of great concern. In particular, during the reign of King Sejong, the degree and extent of effort aimed at achieving this end reached a high point. In this paper, I have re-examined various achievements related to music during the reign of King Sejong based on a political point of view. Sejong was well equipped in this regard, since he had learned about the theory of music and was able to enjoy music in his daily life. With this background, he organized court music, created new musical pieces, and used these pieces in various court ceremonies and parties. There were three purposes for this. First, it was to maintain the Ye-ak concept that is possible to distinguish between the high and the low but at the same time to create harmony between them. The second purpose was to promote accord and good rapport between the high and the low people throughout times of prosperity. The third was to clearly define the justification and legitimacy of the state``s foundation. Numerous songs were created, and performance forms mixing song and dance were selected to express ``stories`` of the songs`` texts in synesthetic metaphor. Such presentations were stylized, and high levels of performances were accomplished with appropriate costumes, accessories and movements. Although Aak, which had been introduced from China and influenced by its music, was used in court music during his time, several elements from native Korean traditional music were also adopted based on Sejong``s understanding that the language and music must be different according to people, geography, tendencies, and natural characteristics. A new system of dissemination was established, and several new score books were published to promulgate achievements. However, no enforced propaganda was carried out. Music and dance related to Buddhism and Shamanism were restricted, and this was justified on the grounds that the state``s custom had to be guided in a correct direction. Also, entertainment merely for pleasure and enjoyment was prohibited. However, enforcement progressed gradually, and several regulations were postponed, and so national control never reached a level of oppression or dictatorship. Such achievements related to the exploitation of music in politics were well evaluated during this time. It was also deemed that the Korean Ye-ak culture was well established, and conducted just as well in Korea as in China, such that it was often compared to the ideal level of the Chu state of China when the Ye-ak ideology had reached its climax. In addition, Sejong has been recognized, even up to now, as a good and wise king who governed the people very well using Ye-ak thought and culture.
송혜진,Song, Hye Jin 한국재난정보학회 2021 한국재난정보학회 논문집 Vol.17 No.3
Purpose: The purpose of this study is to examine the path of money laundering of criminal proceeds through cryptocurrency using criminal script analysis and to devise measures to prevent and prevent criminal justice agencies from doing so. Method: Based on the results of a prior study on the profit path of cryptocurrency through money laundering and criminal cases in Korea, the path of money laundering was analyzed using criminal script techniques. Result: Most of the cryptocurrencies that have been launched are converted into criminal proceeds, which are re-launched and cashed or have a vicious cycle of being used as criminal funds are used. According to the script, the route of money laundering is mainly converted to criminal proceeds from cryptocurrency exchanges using anonymity, which is repeated several times, making it very difficult to find the money using cryptocurrency in criminal justice institutions. Conclusion: As the method of money laundering using cryptocurrency is becoming more sophisticated, legal sanctions and preventive institutionalization should be prepared for the prohibition or confiscation of cryptocurrency transactions for money laundering after understanding the flow.
송혜진,오동훈,정진연,웬득화,조유석,김도진,Song, Hye-Jin,Oh, Dong-Hoon,Jung, Jin-Yeun,Nguyen, Duc Hoa,Cho, You-Suk,Kim, Do-Jin 한국재료학회 2009 한국재료학회지 Vol.19 No.6
Titanium dioxide thin films were fabricated as hydrogen sensors and its sensing properties were tested. The titanium was deposited on a $SiO_2$/Si substrate by the DC magnetron sputtering method and was oxidized at an optimized temperature of $850^{\circ}C$ in air. The titanium film originally had smooth surface morphology, but the film agglomerated to nano-size grains when the temperature reached oxidation temperature where it formed titanium oxide with a rutile structure. The oxide thin film formed by grains of tens of nanometers size also showed many short cracks and voids between the grains. The response to 1% hydrogen gas was ${\sim}2{\times}10^6$ at the optimum sensing temperature of $200^{\circ}C$, and ${\sim}10^3$ at room temperature. This extremely high sensitivity of the thin film to hydrogen was due partly to the porous structure of the nano-sized sensing particles. Other sensor properties were also examined.
송혜진 ( Song Haejin ) 이화여자대학교 음악연구소 2021 이화음악논집 Vol.25 No.2
This study investigates Libby Larsen’s song cycle Try Me, Good King from the perspective of text and historical background. The text of the song cycle is an excerpt from letters of 5 wives of King Henry VIII. I analyze how the textual and historical situation on the fatal destiny of the wives has reflected both vocal melody and piano parts in music. It has been shown that the unique character and the distinct reason of death of 5 wives are closely related to the tempo, pitch, rhythm, and beat in the music. This study explores how their psychological tension ahead of death is expressed uniquely in the song cycle, respectively. The purpose of this study is to provide a case study and a guideline for effective literature study and performance in contemporary art songs to singers and pianists.
송혜진 ( Hye Jin Song ) 한국동양예술학회 2011 동양예술 Vol.16 No.-
This study is on the methodology for developing rational and basic disciplinary system and etudes for the gayageum, which enables students to comprehensively learn the educational contents essentially required for all beginners in the instrument. In 2002, in another paper entitled, Basic research for establishing theoretical system for teaching and learning gayageum, I have already suggested various issues that spring from teaching gayageum, strongly advocating for sequential research on the topic. Ever since, I have continued pursuing this issue with students of gayageum, through questionnaires and interviews focusing on their learning experience, to learn if they need a special course according to individual performance level, and whether developing creative teaching methodology based on step-by-step learning and systematic etudes is necessary for their learning. Therefore, in this study, I have suggested learning system and methods for developing etudes for the 12 and 25-stringed gayageum, based on the result of my compiling of basic disciplinary works for the gayageum and its application on the students for 12 weeks. This paper first looks at what is considered important in most textbooks for teaching he piano, violin, and guitar, followed by an intensive analysis of the teaching manuals for gayageum currently used in both North and South Koreas. Then it suggests 4 types of systems as methodology for establishing systematic teaching for the basic disciplinary etudes for the 12 and 25 stringed gayageums respectively. First, the essential constructive elements necessary for basic disciplinary system of gayageum is categorized into basic learning process and its application. Based on the premises that creative and multiple application system and related etudes must be developed, I have suggested, for the 12 stringed gayageum, ``disciplinary system and etudes for learning program note forms`` and, for the 25-stringed gayageum, ``disciplinary system and etudes for learning to play chords.`` I have decided also that it is more efficient to presuppose different learning levels for teaching gayageum, for each of which various systems for learning are provided with appropriate musical examples accordingly; ``simple melodic forms for learning different techniques,`` ``training your fingers`` ``etudes`` and ``stage pieces.`` In ``Simple melodic forms for learning different techniques, special care is given to learning to read scores and symbols, as well as training to make sound and different tone colors. This is supported with tips for learning lower and higher technical levels, as well as practice methods for correcting your techniques and for learning various musical expressions. Etudes are partial arrangements of established musical pieces to suit gayageum performance. The subjects for the pieces were chosen based in the consideration that this is for basic learning and that it should promote the deepening of musical abilities required for playing traditional pieces. Therefore, the etudes include mostly folk songs, but for the 25 stringed gayageum, I have included newly composed children``s songs for the basic level and folk songs of other culture and popular tunes for the application level. The resulting 30-70 etudes, categorized into different practice levels, were tested through actual application, which yielded the following conclusions. 1) It allows a step-by-step learning, by altering the level of etudes according to one``s present abilities. 2) For each technique, four levels of difficulty are provided; ①basic melodic forms ② its application ③ etude ④ musical piece. Such format allows a more efficient learning compared to other currently practiced textbooks. 3) Experiencing and learning various musical pieces and rhythmic forms through etudes and musical pieces, learning musical features of local folk songs and their unique musical expressions, and playing with a special attention to expressive symbols. 4) Each section is not too extensive, designed in order to motivated students to keep going without slackening their energy. I have no doubt that such study as this, of the disciplinary system and etude for the instrument, has already been formulated in the minds of most textbook designers and teachers of gayageum. However, there was no sufficient discussions on what kind of system would be most appropriate, which leads to mere duplication of current teaching materials. Therefore, it is required a more logical approach and open discussions on the disciplinary system and methodology for teaching and learning gayageum.
송혜진(Song Hye jin)(宋惠眞) 국립국악원 1995 국악원논문집 Vol.7 No.-
This paper explores the Sinje Aakpo 新製雅樂譜 [New Ritual Music Scorel) for the Won gu 圓丘 [Heavenly Spirits) in the Annals of King Sejo(1455-1468). The Origin of this score has been questioned by the editor of Taeak-hubo 大樂後譜 [Scores of Great Music : Later Edition] (1759), and has not yet been studied until now. My analysis compares this score to those from Sung, Yüan, and Ming China and reveals their differences as follows. The the Sinje Aakpo melody performed only between the Third and Tenth year King Sejo(l457-1464) is unlike the other Korean Aak melodies, making us believe that it originates from another source, rather than Ta-ch eng yüeh-p u 大成樂譜 [Collection of Ta-ch eng Music) written by Lin yü 林宇, This score differs from the traditional Aak Notations in that it does not indicate the orchestration of each order; it fails to follow the Principle of Yin-yang Harmonic Sound, using only the key of F in the Tangsang 堂上 Terrace of the shrine building and the Tangha 堂下 Chortyard; and melody and text follow the four syllables, eight lines format; and finally, it lacks titles of the pieces in its text. The Annals refer to the differences shown above as characteristics similar to that of Ming Dynasty. However, my analysis reveals that these differences are related to that of Yüan and Sung Dynasties, not Ming. Thus New Ritual Music Score for the Heavenly Spirits is a significance source that should be further studied.