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코로나바이러스감염증-19가 치과의료기관의 경제적 손실에 미친 영향 요인 : 다수준 분석의 적용
이가영,전지은,Lee, Ga-yeong,Jeon, Ji-eun 대한치과의사협회 2020 대한치과의사협회지 Vol.58 No.10
This study was conducted to identify the subjective damage caused by COVID-19 and its related factors. The study subjects were members of the Korean Dental Association (KDA). We investigated the damage to dental clinics and hospitals caused by COVID-19 between January and April 2020. After analyzing the final 3,189 responses, the rate of decrease in patients was the highest at 34.9% in March, and the rate of decrease in income was the highest at 34.0% in April. As a result of the multilevel analysis, the damage caused by COVID-19 was greater in regions with more confirmed patients, more careers, and fewer dental staff. The government should establish a compensation plan for hospitals and clinics to prevent the collapse of the medical system due to the prolonged COVID-19. In addition, support for dentistry should be provided to maintain the oral health care system in the future.
바흐의 리토르넬로와 칸타타 208번 - 바이마르를 넘어서
이가영 연세대학교 음악연구소 2019 음악이론포럼 Vol.26 No.1
This article examines BWV 208, the secular cantata performed at the Birthday of Duke Christian of Saxe-Weißenfels on the 23rd of February, 1713. Through the analysis of two arias taken from BWV 208, namely, the bass and soprano arias, I will explore to the extent that the ritornello procedure that Bach employs for the two movements reflects or deviates from the procedure originally designed by Vivaldi. After illustrating that Bach already utilizes the ritornello procedure in these movements even before he was exposed to the Vivaldian concertos, I will argue that the traditional narrative that read Bach’s Weimar arias as a manifestation of Bach’s study of Vivaldian works need to be reconsidered.
이가영 대한비만학회 2022 Journal of obesity & metabolic syndrome Vol.31 No.4
Background: This study aimed to determine the associations between self-perceived weight, weight perception, and mortality risk among Korean adults. Methods: Data from the 2007 to 2015 Korea National Health and Nutrition Examination Survey and the 2007 to 2019 Cause of Death Statistics were linked for this cohort study. A complex samples Cox regression analysis involving 42,453 participants (17,056 male; 25,397 female) was performed after excluding those who died within 1 year of the follow-up period, those with a history of cancer, those with cardiovascular diseases, those without body mass index (BMI) data, and those without self-perceived weight data. Results: During 7.85 years of follow-up, the overall mortality rate was 3.8% (4.5% for male and 3.1% for female). Self-perceived thin weight status was associated with a 43% to 68% higher risk of all-cause mortality and a 2.48-times higher risk of cardiovascular mortality compared to self-perceived just right weight status after controlling for sociodemographic characteristics, health-related behaviors, underlying health status, BMI, and metabolic syndrome. After adjusting for the confounding factors, those who underestimated their weight had a 27% reduced risk of all-cause mortality than those who correctly estimated their weight. The risks of all-cause mortality and cardiovascular mortality were 2.14-times higher and 2.32-times higher, respectively, in the underweight group with an accurate weight estimation than in the normal weight group with an accurate weight estimation. However, all-cause mortality was 47% lower among participants with obesity who overestimated their weight. Conclusion: Self-perceived thinness and accurately perceived underweight status were associated with increased risks of all-cause mortality and cardiovascular mortality among Korean adults.
이가영 한국서양음악학회 2022 서양음악학 Vol.25 No.1
This study deals with Johann Sebastian Bach’s Trauer Ode, BWV198 and its opening chorus, a work commemorating the death of Christiana Eberhardine, Electress of Saxony on 5th of September 1727. By arguing that the music of Trauer ode does not express sorrow nor consolation, this study seeks to examine what Bach wanted to accomplish in this work instead. In turn, this study discusses the musical features of the opening chorus, the relation of music to the given text, and finally the political context in which the work was written. I will then argue that Bach combines the French tradition with the Italian in a highly ingenious way, creating work comparable to his passions. 이 연구는 요한 제바스찬 바흐의 ≪추모 송가≫(Trauer ode), BWV198과 그것의 1악장, 시작합창을 논의의 대상으로 삼고 있다. 절절한 슬픔을 노래하지도, 위로와 위안을 제공하지도 않는것처럼 보이는 이 ≪추모 송가≫에서 바흐는 어떤 음악을 구현하고자 했는지, 그리고 왜 그러한음악을 창작했는지 질문하고자 한다. 이를 위해 이 작품과 시작 합창의 음악적 특징, 음악과 가사의 관계, 나아가 작품의 의뢰 및 착수 과정과 관련된 일련의 내러티브를 서술해 나간다. 이연구는 바흐가 프랑스와 이탈리아와 독일의 음악 양식을 교묘하게 결합하여 가장 과장되고 수식적이고 인위적인 음악을 창작해 내고 있으며, 이러한 창작공정 이면에는 작가인 고트셰트를 넘어서는 작곡가 바흐의 모습이 강력하게 새겨져 있음을 주장하고 있다.
《나단조 미사》(Mass in B Minor )를 위한 소고: 바흐 음악의 전형을 읽다
이가영 한국서양음악학회 2011 서양음악학 Vol.14 No.3
This paper attempts to investigate various circumstances that lead Bach to begin to work on the Mass in B Minor, finally allowing him to complete it. In order to do so, I will try to build a complex context that surrounds Bach, the context that conditions Bach's private as well as professional lives. In particular, I will examine Bach's relation to the Dresden Court, emphasizing his close tie to the court. At the same time, I will also trace various ways in which Bach explores the genre, Mass, toward the end of his life in order to expand his compositional technique. Finally, by considering the context that I reconstruct in this paper, I argue that Mass in B Minor also can be seen to be an ordinary work in a sense that it reflects Bach's working method, the method that has been employed ever since he began to write his music. 이 글은 《나단조 미사》작품 자체가 아니라 작품이 만들어지는 전 단계와 전 상황에 주목한다. 특별히 1730년 이후, '드레스덴'과 관련 있는 몇 가지 상황에 대해 초점이 맞춰져 있다. 그리하여 개별적인 사건으로 취급되는 경우 《나단조 미사》와의 연결고리가 미약하게 보일 수 있는 몇몇의 상황들을 보다 큰 문맥으로 엮어 드러나는 함의를 논의한다. 또한, 이 논문은《나단조 미사》가 탄생하게 되는 음악적 문맥의 재구성에도 관심이 있다. 음악적 문맥의 재구성이란 새로운 음악양식과 언어를 창조하려는 바흐의 탐구과정을 되짚어 보려는 것이며 이것은 바흐에게 주어진 음악적 전통의 탐구과정을 되짚어 보려는 것이기도 하다. 음악적인 문맥과 시기적인 문맥의 재구성을 통해 이 두 가지 맥락의 공존, 그리고 이러한 공존을 통해창조되는 작품이야말로 작곡가 바흐의 전형적이며 보편적인 창작과정의 결과물이라는 결론을 이끌어내고자 한다.