龜玆樂 關聯의 개存 硏究成果 檢討 : A Critical Review

홍주희 한국음악사학회 2002 한국음악사학보 Vol.29 No.-

In order to make a systematic approach to the study of Kuei-tzu˘ music 龜玆樂, this paper is intended to investigate the outcomes of existing studies on Kuei-tzu˘ music by Korean and Chinese scholars from the 1950s to the present. Most outcomes have been studied by Chinese musicologists including P'an Huai-su 播?素, Ch'ang Jen-hsia 常任俠, Chou Chi 周吉, Ho Ch'ang-lin 何昌林, Ch'iu Ch'iung-lin 丘璟蓀, Li Ping 呂氷 and so on. Also included are such Korean scholars as An Hwak 安廓, Lee Hye-ku [Yi Hye-gu] 李惠求, Song Bang-song [Song Pang-song] 宋芳松, Cho˘n In-p'yo˘ng 全仁平 and Hong Chu-hu˘i 洪周希, and also such Japanese musicologists as Kishibe Shigeo 岸邊成雄 and Hayashi Kenzo― 林謙三. The outcomes of existing studies on Kuei-tzu˘ music can be divided into two groups in a broad sence : the first group is the outcomes related directly with Kuei-tzu˘ music, while the other group, the outcomes related indirectly with Kuei-tzu˘ music. This paper consists of three parts : Ⅰ. Introduction, Ⅱ. The Main Issue : 1. Studies on Kuei-tzu˘ Music : 1) Studies on Kuei-tzu˘ Music in Ancient Period; Modal Theory Called We-tan-ch'i-sheng 五旦七聲 by Su Chih-p'o 蘇祗婆, Historical Change of Musical Scale, Musical Instruments, and General Approach to Kuei-tzu˘ Music, 2) Relation between Ancient Kuei-tzu˘ Music and Current Makam, 2. Studies of Indirectly Related with Kuie-tzu˘ Music : 1) Outcomes by Cultural Approach, 2) Outcomes by Iconographic Materials, 3) General Survey, Ⅲ. Conclusion. In conclusion it is pointed out that the outcomes of existing studies on Kuei-tzu˘ music by Korean scholars are very poor in comparison with those by Japanese and Chinese scholars. Translations of studies on Kuei-tzu˘ music by Kishibe Shigeo and Hayashi Kenzo― made a contribution to the study of Kuei-tzu˘ Music in Korea. The author, therefore, emphasizes that it is necessary to translate works on Kuei-tzu˘ music by Chinese scholars into Korean.

마이크로파에 의하여 가열된 에멀젼의 온도 예측

홍주희,김덕찬 한국공업화학회 2002 한국공업화학회 연구논문 초록집 Vol.2002 No.0

마이크로파에 의하여 가열된 에멀젼의 온도 예측 홍주희·김덕찬서울시립대학교 공과대학 화학공학과산업 현장과 생활 폐수에서 다량 발생하는 에멀젼의 분리를 위한 기존의 물리적·화학적 방법들은 복잡한 처리 공정과 2차 오염의 발생 뿐 아니라 고가의 처리비용 등의 문제점들을 가지고 있다. 이러한 문제점들을 감소시키기 위해 최근에는 마이크로파 가열에 의한 에멀젼 분리에 관한 연구가 이루어지고 있다. 마이크로 파는 선택적인 내부 가열이 가능하기 때문에, 점도가 높은 에멀젼에 적용이 가능하다. 가열에 의한 에멀젼 분리는 합체(coalescence)와 침강(sedimentation)의 두 공정에 의하여 이루어지며, 이 공정들은 온도에 대하여 크게 영향을 받는다. 그럼으로, 마이크로파 가열에 의한 에멀젼 분리시 가장 중요한 인자로써 작용하는 온도의 예측은 에너지 절약과 처리비용의 절감 측면에서 매우 중요하다. 본 연구에서는 유한 차분법(finite difference method)에 의하여 마이크로파가 조사된 에멀젼의 온도를 예측하였으며, 이때 연속상(continuous phase)과 분산상(disperse phase) 사이의 온도 차이와 대류(convective) 현상에 의한 공기로의 열 손실(heat loss)은 무시되었다. 에멀젼의 밀도(density)와 비열(specific heat)은 혼합 규칙(mixing rule)에 의하여 계산되었으며, 유전 특성(dielectric properties)들은 Mudget식에 의하여 구하였다. 에얼젼 분리가 이루어지는 50°C이상의 온도에서는 10%이내의 오차를 나타내었다.

미각 이상 환자의 미각 역치 검사에 관한 증례 보고

홍주희,오정규,고홍섭,Hong, Ju-Hee,Oh, Jeong-Kyu,Kho, Hong-Seop 대한안면통증구강내과학회 2001 Journal of Oral Medicine and Pain Vol.26 No.2

The authors performed the taste threshold tests in two patients complaining taste problem who visited the Department of Oral Diagnosis, Seoul National University Dental Hospital. The taste thresholds were determined using a concentration series of five tastants, sucrose ( sweet ), NaCl ( salty ), citric acid ( sour ), quinine hydrochloride ( bitter ) and monosodium glutamate ( umami ). The taste solutions were diluted by half quarter logarithmic steps. The two patients showed higher taste thresholds level than normal but the taste threshold results did not coincide with the patients appeal. Further researches are needed for developing simple and precise diagnostic methods which can be applied to the patients with taste disorder.

AIDS의 약물요법

홍주희 韓國病院藥師會 2007 병원약사회지 Vol.24 No.1

초등학교 음악교과서에 수록된 제주민요 지도방안 연구Ⅰ-<서우젯소리>를 중심으로-

홍주희 한국국악교육연구학회 2017 국악교육연구 Vol.11 No.2

This study aims to find a teaching and learning method to identify values of people in Jeju and characteristics of Jeju folk songs from a cultural perspective, considering regional characteristics of Jeju folk songs. Currently, the term ‘tori in different regions’ is introduced as a learning element to define musical characteristics of folk songs during 5th and 6th grades. However, Jeju folk songs have not established the concept of ‘Jeju tori’ that defines their musical features. Therefore, along with instructional contents for jangdan and melodies proposed in the music curriculum, there is a need for a teaching and learning plan for folk songs that contain their regional cultures. As the 2007, 2009, and 2015 Revised Music Curriculum place emphasis on values of Korean music and cultural heritage of Korea music in the domain of ‘music in daily life’, research on a teaching method for folk songs should be carried out so that students can learn regional cultures through folk songs and recognize their values. Therefore, this study analyzes essential instructional contents for the Jeju folk songs included in six music authorized textbooks for 5th and 6th grades according to the 2009 Revised Music Curriculum. It also attempts to cultivate the six key competencies promoted by ‘the 2015 Revised Curriculum,’ particularly cultural community competence, musical emotion competence, musical creativity and convergence knowledge competence, from a cultural perspective using the Jeju myths and legends that reveal the life of people in Jeju. And it finally proposes application plans and a teaching method for seoujesori. 이 연구는 제주민요의 지역적 특성을 고려하여 제주인의 가치관과 제주민요의 특징을 문화적 관점에서 지도할 수 있는 교수․학습 방안을 모색해 보는 것을 목적으로 한다. 현재 초등학교 5~6학년에서 민요의 음악적 특징을 규정하는 용어로 ‘여러 지역의 토리’를 학습요소로 제시하고 있지만, 제주민요는 그 음악적 특징을 규정하는 ‘제주토리’로서의 개념 정립이 미흡한 실정이다. 음악과 교육과정에 제시된 장단과 선법(가락)의 지도 개념 이외에도 그 지역의 문화를 담고 있는 민요의 다양한 학습 지도 방안이 필요하다. 이와 더불어 2007 개정, 2009 개정, 2015 개정 음악과 교육과정의 생활화 영역에서 우리 음악의 가치, 국악 문화유산 등에 대한 내용이 강조되었다는 점을 볼 때, 민요를 통해 지역의 문화를 바라보고 그 가치를 인식할 수 있도록 민요 교육을 위한 지도 방안 연구가 이루어져야 할 것이다. 본 연구자는 2009 개정 음악과 교육과정에 따른 초등학교 5~6학년 음악 검정교과서 6종의 제주민요 제재곡에 따른 주요 학습내용을 분석하고, 제주인의 삶을 엿볼 수 있는 제주신화와 전설을 활용한 문화적 관점을 중심으로 2015 개정 음악과 교육과정의 학교교육을 통해 학생들에게 중점적으로 길러주고자 하는 6가지 핵심역량 중 문화적 공동체 역량, 음악적 감성 역량, 음악적 창의․융합 사고 역량을 기를 수 있는 것에 중심을 두었으며, <서우젯소리>의 적용 방안과 지도방안을 제시하였다.

제주시 창민요 ‘너영나영’의 교육적 활용 방안 연구

홍주희 한국국악교육연구학회 2023 국악교육연구 Vol.17 No.2

The primary objective of this paper is to develop teaching and learning plans for Jeju folk songs that enable students to acquire and apply learning content within real-life contexts, in support of the development of the ‘competency enhancement curriculum.’ To this end, the study focused on the most prominently featured Jeju folk song in textbooks, ‘Neoyeongnayeong’. It involved reviewing the instructional content within the textbooks related to this song, examining how ‘Neoyeongnayeong’ is being transmitted within the Jeju community, and compiling musical scores from firsthand data collected through direct engagement with the lives of local residents. The developed teaching and learning plans were applied to fourth-grade students in one school within Juju city. The target for the utilization of the analytical data is the materials collected and analyzed directly by the researcher. A teaching-learning course plan that can be used in school education was composed and developed from the following perspectives. It was conducted in three phases for fourth-grade elementary students in Jeju, and the learning activity sheets were analyzed. First, the sheet music of ‘Neoyeongnayeong’ included in the textbooks was utilized as a learning source by comparing it with the directly transcribed sheet music of the song ‘Neoyeongnayeong,’ which has been designated as an intangible cultural heritage of Jeju Island. Second, in order to foster an understanding of Jeju culture, the lyrics of ‘Neoyeongnayeong,’ sung by a holder of Jeju’s intangible cultural heritage, were used to explore the natural symbolism of Jeju. This was achieved by ‘Byeongdambyeongju’ in the art book <Tamnasullyeokdo> to visualize Jeju’s musical culture for learning purposes. As a learning plan for Jeju folk songs, which have not yet found their place as tori, students are expected to naturally grasp their characteristics as they become familar with song materials that are closely linked with the emotions of the locals and explore the places, objects, and backgrounds associated with the folk songs. It is an ongoing task to study how Jeju's music culture, permeated with the lives of local residents, can be used in school education. 본 연구는 ‘역량 함양 교과 교육과정’ 개발을 위해 실생활 맥락 속에서 학습 내용을 습득하고 적용 실천 할 수 있는 제주민요 교수ㆍ학습 과정안을 개발하는 것에 목적을 두었다. 이를 위해 교과서의 제주민요 중 가장 많이 수록된 제주민요 ‘너영나영’을 대상으로 교과서의 지도 내용을 검토하고, 현재 ‘너영나영’이 제주지역사회에서 어떻게 전승되고 있는지를 살펴보고, 지역민의 생활과 연계한 ‘너영나영’을 직접 채집한 자료를 악보화하여 제주시 1개교 4학년 학생을 대상으로 교수ㆍ학습 과정안을 개발하여 적용하였으며, 분석자료의 활용 대상은 연구자가 직접 채집하고 분석한 자료로 한다. 학교교육에 활용할 수 있는 교수ㆍ학습 과정안을 다음과 같은 관점에서 구성 및 개발하였으며, 제주도 소재 초등학교 4학년을 대상으로 3차에 걸쳐 실시하고 학습 활동지를 분석하였다. 첫째, 교과서에 수록된 ‘너영나영’의 악보와 제주도 무형문화재로 지정된 노래 ‘너영나영’을 직접 필사한 악보와 비교하여 학습자료로 활용하였다. 둘째, 제주문화를 이해 할 수 있는 제주무형문화재 보유자가 부르는 ‘너영나영’의 제주의 자연의 의미인 가사를 화첩 <탐라순력도>의 ‘병담범주(屛潭泛舟)’를 통해 시각화 된 제주의 음악문화를 학습할 수 있도록 활용하였다. 아직 토리로 자리 잡지 못한 제주민요의 학습방안으로 지역민의 정서와 연계된 제재곡을 익히면서 함께 민요에 드러나는 장소 및 사물이나 그 배경 등을 알아보면서 자연스럽게 특징을 파악할 수 있을 것으로 기대한다. 지역주민의 삶이 스며든 제주의 음악문화가 학교교육에 어떻게 활용될 수 있는지 연구하는 것은 지속적으로 진행되어야 할 과제이다.

위구르 무캄의 연구 - 다랑무캄을 중심으로 -

홍주희 동북아시아문화학회 2007 동북아 문화연구 Vol.1 No.12

신강(新疆) 위구르(维五尔) 12무캄(木卡姆)

洪周希 동북아시아문화학회 2006 동북아 문화연구 Vol.1 No.11

In the modern global information age, the term Silk Road evokes expressions like multiculturalism, crossculturalism, and transnationalism as well as globalization. As the ancient trade route of the Silk Road transported not only merchandise, but more significantly transferred various artistic and cultural products, in today’s global economy, we continue to witness such exchanges. Todays larger variety and quantity of goods and cultural exchanges are made more instantaneously. Tourism, media, and worldwide websites all contribute toward speedy and complex transmission of information. The awareness of the interconnections and interdependence of the world we live in motivates both artists and audiences to seek ways to express and experience the common thread that binds together as well as celebrate individual cultural heritage. The 12,000 kilometer route from eastern China to the Mediterranean coast was given the name Silk Road by a German scholar Baron Ferdinand Von Richthofen only as late as the 19th century. Languages scripts, ideas, religions, artistic expressions of various kinds travelled with bales of Silk, precious stones and metals & many natural products. This music of 五尔族(weiwuerzu) had an influence on China and Asian regions and is one of the requisite research task to be investigated in the study of the Korean ancient history. Accordingly, the purpose of this study was to investigate the music of 五尔族(weiwuerzu) in the Chinese Xinjiang region of the Silk Road that had an influence on Korean ancient music as well as Chinese ancient music. There has been the inseparable relationship between song, dance and instrument in the musical life of the humankind, and the musical instrument is one part forming the musical culture of the nation.

천전리식 주거의 출현과정에 관한 새로운 견해 ― 양구 고대리유적 자료를 중심으로 ―

홍주희 한국청동기학회 2016 한국청동기학보 Vol.19 No.-

이 논문은 양구 고대리유적의 자료를 중심으로 북한강유역 청동기시대 천전리식 주거의 출현과정을 검 토한 글이다. 이에 앞서 양구 고대리유적에서 조사된 주거지 중 점토다짐구역이 시설되었으나 평면형태상 천전리식 주거와 차이를 보이는 동시에 정형성을 보이는 주거 형태를 고대리식 주거라 명명하였으며, 단계설정과 편년을 통해 고대리식 주거의 시간적 위치를 부여하고 점토다짐구역의 변화가 갖는 의미를 살펴 보았다. 고대리유적은 유물양상을 통해 총 4단계로 구분하였다. 이 중 고대리식 주거는 2단계에 출현해 역삼동식 주거와 공존함과 동시에 천전리식 주거의 이른 형태가 출현한다. 그러나 유물은 여전히 전기 후반의 양상을 보이며 천전리식 주거와 병존하는 3단계에서야 전환기적인 양상의 유물이 확인된다. 이러한 양상 을 종합해 2단계를 전기 후반~중기 전반, 3단계를 중기 전반으로 편년하였고, 고대리식 주거는 천전리식 주거가 정착한 4단계 중기 후반 이후 급격히 소멸한다. 고대리식 주거의 점토다짐구역은 2~3단계를 거치면서 평면형태상 점진적인 변화과정을 겪는다. 특히 주거지 내부 저장공의 위치가 점토다짐구역 외측으로 이동하는 현상과 유물분포양상은 주거의 규모 및 장단비 축소와 점진적인 공간의 기능분화에서 비롯된 점 토다짐구역의 축소와 이동현상으로 파악된다. 이상에서 그간 역삼동식 주거의 영향 하에 자체 발생한 것으로 유추했던 천전리식 주거는 역삼동식-고대리식 ․ 용암리식-천전리식 주거로 이어지는 시간적 ․ 계통적 연결선상에 있으며, 고대리식 주거는 용암 리식 주거와 더불어 천전리식 주거의 출현과정에서 상이한 공간분화를 거친 과도기적 주거형태로 판단된다. This study set out to review the emergence of Cheonjeonri-style dwelling during the Bronze Age with a focus on the materials of Godaeri relics in Yanggu. Before the review, the investigator named the type of dwelling that showed similarities in clay tamping area and working hole arrangement among the dwelling sites in the Godaeri relics in Yanggu the Godaeri-style dwelling. Then, the study identified the time and location of Godaeri-style dwelling and examined the meanings of the changes to the clay tamping area by setting up the stages and recording them chronologically. There were a total of four stages in the Godaeri relics based on the types of artifacts. The Godaeri-style dwelling appeared in Stage 2, claiming its coexistence with the Yeoksamdong-style dwelling. The early version of Cheonjeonri-style dwelling also made its appearance in Stage 2. The artifacts, however, remained in the latter patterns of the early period. It was in Stage 3, characterized by the coexistence with the Cheonjeonri-style dwelling, that the artifacts of transitional patterns were found. Based on those patterns, the study placed Stage 2 in the section between the latter part of the early period and the former part of the middle period and Stage 3 in the former part of middle period. The Godaeri-style dwelling abruptly disappeared in Stage 4 in the former part of the middle period when the Cheonjeonri-style dwelling appeared in full scale. The clay tamping area of Godaeri-style dwelling went through Stages 2 and 3 and underwent a gradual changing process of planar configuration. The phenomenon of the location of storage hole shifting to the outer part of the clay tamping area within the dwelling site and the distribution patterns of artifacts reflect the reduction of dwelling size and aspect ratio and the reduction and migration of clay tamping area associated with the functional differentiation of space. These findings indicate that the Cheonjeonri-style dwelling, which used to be estimated to have occurred on its own under the influence of Yeoksamdong-style dwelling, was in the temporal and systematic connection line leading to the Yeoksamdong-Godaeri-style dwelling and Yongamri-Cheonjeonri-style dwelling. The Godaeri-style dwelling is estimated to be a transitional form of dwelling that underwent different differentiation of space in the emerging process of Cheonjeonri-style dwelling along with the Yongamri-style dwelling.

고대 서역 구자악의 신강 지역 전파와 수용 - 키질석굴에 보이는 원형울림통을 가진 현악기를 중심으로 -

홍주희 동북아시아문화학회 2010 동북아 문화연구 Vol.1 No.22

The ancient cultures of the countries bordering on Western China were influenced by exchange with their neighboring countries in one or some form and developed. It was the very Silk Road that laid the stage for this exchange. The cultural exchange of the Tarim Basin(Xīnjiāng at present) located in the middle region of the Silk Road was vibrant in the Han and Tang dynasties. As the maritime Silk Road began to develop, the oasis(overland)Silk Road began to vanish and accordingly the ancient civilization of the countries bordering on Western China gradually came to disappear into the sand desert. The vestiges of this exchange can be found in pictures or in records. The figures or objects found on the mural painting or excavated remains provide a clue for us to figure out the living cultures of that times. Therefore, they can be said to be the valuable material in the field of the academic research related to the ancient history. The mural paintings in the Kizil stone cave contain Buddhist contents and depict music as the expression of religious faith. For this reason, there are musical instruments seen in the ancient mural paintings and those transformed into several forms in the music of the present Xīnjiāng region converted into Islam. This could be felt in the field study. It is not easy to define their origins though the external appearance of the musical instrument found in the mural painting may be like or unlike the present one. This study attempted to identify the aspect of cultural exchange in Xīnjiāng on the ancient Silk Road based on the outcome of studies conducted by several scholars and this field study in relation to the mural paintings of the Kizil stone cave. This would become the basic work to identify the aspect of exchange in the Korean history of music located on the ancient Silk Road.