12잡가 형장가 연구

송은주(Eun-joo, Song) 한국국악교육학회 2011 국악교육 Vol.32 No.32

본 논문은 <12잡가>중 한곡인 ‘형장가(刑杖歌)’를 연구하였다. ‘20세기 초 ‘형장가’’와 ‘현행 ‘형장가’’를 비교 대상으로 삼아 사설과 음악의 공통점과 차이점, 변화양상 등을 분석하였다. <12잡가>의 출현은 19세기부터지만 <12잡가> 12곡이 모두 완성된 것은 20세기 중반이며 ‘형장가’ 는 20세기 초에 나타난다. ‘형장가’의 연구를 위해 20세기 초 <12잡가> 사설을 수록한 『한국속가전집』, 20세기 초?중반의 <12잡가> 사설과 악보를 수록한 『?잡가악보집』?, 현행 <12잡가> 사설과 악보를 수록한 『경기12잡가』가 연구 자료로 사용 되었다. II장에서 ‘형장가’ 사설의 공통점과 차이점, 변화양상을 분석하였다. ‘형장가’ 사설의 내용 변화는 1번 나타난다. 내용 변화의 양상은 ‘가사의 첨삭’과 ‘내용의 순서 변화’이다. 사설의 어휘 차이 양상은 다섯 군데로 ‘고어의 현대어 교체, 종결어미의 교체, 연결어미의 교체, 감탄사의 교체, 어미의 교체’, 등으로 다양하게 나타난다. ‘형장가’ 어휘 차이의 뚜렷한 규칙성은 없으며, 다만 『?한국속가전집』?의 고어(古語) 표기가 『?잡가악보집』?, 『?경기12잡가』?에서는 현대어 표기로 바뀐 것이 특징이다. 사설의 내용 변화와 어휘 차이의 양상을 분석해 볼 때, 『?한국속가전집』?에서 『잡가악보집』, 『경기12잡가』에 이르기까지 ‘형장가’ 사설의 어휘 차이는 거의 없으며 『?한국속가전집』?에는 없던 사설이 『잡가악보집』과 『?경기12잡가』?에 나타난다. ‘가사의 첨삭’으로 내용상으로는 판소리 <춘향가>의 한부분이지만 독립된 곡으로써 <12잡가> ‘형장가’의 완성도를 높였다. III장에서 ‘형장가’의 장단과 말붙임을 살펴보았다. ‘형장가’에 나타나는 장단은 모두 두 종류로 사용하는 장단은 ‘느린6박장단’, ‘빠른6박장단’이다. 『잡가악보집』과 『경기12잡가』에 수록된 ‘형장가’ 장단의 종류와 전체 장단수는 같다. 그러므로 ‘형장가’는 장단에 있어서 변화가 없다. 다음으로 ‘형장가’의 말붙임과 말붙임의 유형을 살펴보았다. ‘형장가’에 나타나는 말붙임 유형은 ???, ??? 두 종류이다. ‘형장가’ 각 장단의 첫 박에는 주로 ??? 유형이 나타났다. ‘형장가’는 주로 첫 박과 넷째 박에 말붙임이 있다. 첫 박과 넷째 박은 모두 북편에 해당하므로 ‘형장가’의 말붙임은 북편에 있다고 할 수 있다. 이러한 사실을 근거로 ‘형장가’는 어단성장(語短聲長)의 영향을 받은 노래임을 알 수 있다. IV장에서 ‘형장가’의 악곡구분 및 출현음과 종지음을 살펴보았다. ‘형장가’는 유절형식의 후렴구가 없는 곡이다. 『잡가악보집』과 『경기12잡가』?‘형장가’의 출현음은 ‘G<SUB>3</SUB>, A<SUB>3</SUB>, D<SUB>4</SUB>, F<SUB>4</SUB>, G<SUB>4</SUB>, A<SUB>4</SUB>’의 6음으로 두 가집의 출현음은 같았다. 출현음의 음정은 ‘장2도+완전4도+단3도+장2도+장2도’이다. 중심음은 ‘D<SUB>4</SUB>’이며 종지음은 ‘G<SUB>3</SUB>’로 하행종지 하였다. 두 가집의 출현음, 주요음, 중심음은 모두 같다. ‘형장가’의 주요음은 ‘G<SUB>3</SUB>, D<SUB>4</SUB>, F<SUB>4</SUB>, G<SUB>4</SUB>’이다. 주요음의 음정은 ‘완전5도+단3도+장2도’로 진행하며 음간의 도약이 있어 ‘형장가’는 <12잡가>중 다이나믹한 선율을 느낄 수 있는 곡이다. ‘형장가’는 서정적인 선율과 변화 있는 장단으로 엮은 <12잡가>로 시대적으로 살펴보면 사설의 변화가 나타났고 장단, 출현음, 중심음, 종지음의 변화는 없었다. ‘형장가’ 곡 안에서의 장단은 ‘느린6박장단’에서 ‘빠른6박장단’으로 변화했으며 출현음과 종지음의 변화는 없었다. ‘형장가’는 판소리 <춘향가>중 한 대목을 확대하여 인생의 희노애락(喜怒哀樂)과 애증(愛憎)의 감정을 장단의 변화로 표현한 절제된 <12잡가>이다. This study examined ‘Hyeogjangga(刑杖歌, Song at the Execution Ground)’, a piece of music among <Twelve Japga(十二雜歌)>. This study analyzed common factors and differences in narration and music as well as the transformational aspects by comparing the early 20th century ‘Hyeogjangga’ and ‘current Hyeogjangga’. <Twelve Japga> started from the 19th century but 12 songs of <Twelve Japga> were completed in the middle 20th century, and ‘Hyeogjangga’ appeared in the early 20th century. For the analysis of ‘Hyeogjangga’, this study used 『Korean Popular Song Collection』 ?with the early and middle 20th century <Twelve Japga> narration and music and 『Gyeonggi Twelve Japga(京畿十二雜歌)』 ?with current <Twelve Japga> narration and music. In chapter II, this study analyzed common factors and differences as well as the transformational aspects of ‘Hyeogjangga’ narration. The changes in ‘Hyeogjangga’ narration are seen once. The aspect of the changes is ‘addition and deletion of lyrics’ and ‘changes of order of content’. The aspect of vocabulary changes of narration is diversely seen as five types such as replacement of archaic word by modern language, replacement of sentence endings, replacement of connective endings, replacement of interjection, and replacement of endings. There is no certain regularity of differences in ‘Hyeogjangga’ vocabularies but archaic word of 『Korean Popular Song Collection』 ?has been changed to modern language in ?『Book of Japga(雜歌樂譜集)』 ?and 『Gyeonggi Twelve Japga』. According to the analysis of changes in contents of narration and differences of vocabularies, the changes of ‘Hyeogjangga’ narration are rarely seen. In chapter III, this study looked into rhythm and malbuchim of ‘Hyeogjangga’. Rhythms in ‘Hyeogjangga’ are two types of ‘slow 6-beat rhythm’ and ’fast 6-beat rhythm’. The type and the number of rhythms of ‘Hyeogjangga’ included in 『Book of Japga』 ?and 『Gyeonggi Twelve Japga』 ?are same. Therefore, there is no change in the rhythm of ‘Hyeogjangga’. Next, this study examined types of malbuchim of ‘Hyeogjangga’ and the types of malbuchim. The types of malbuchim in ‘Hyeogjangga’ are two ???, ???. The first beat of each rhythm in ‘Hyeogjangga’ is mostly ???. The first and the fourth beats of ‘Hyeogjangga’ are mostly malbuchim. The first and the fourth beats occur at bukpyeon so malbuchim of ‘Hyeogjangga’ is in the bukpyeon. Based on this fact, we know that ‘Hyeogjangga’ is affected by the Eodan-seongjang(語短聲長). In chapter IV, this study looked into the movements of music, the tone of appearance(出現音) and the tone of cadence(終止音) of ‘Hyeogjangga’. ‘Hyeogjangga’ has no stanzaic form of chorus. The tone of appearance of ‘Hyeogjangga’ in 『Book of Japga』 ?and 『Gyeonggi Twelve Japga』 ?is six sounds of ‘G<SUB>3</SUB>, A<SUB>3</SUB>, D<SUB>4</SUB>, F<SUB>4</SUB>, G<SUB>4</SUB>, A<SUB>4</SUB>’, and they are same as the tone of appearance(出現音) of the two music books. The tunes of tone of appearance(出現音) are ‘Major 2nd + Perfected 4th + Minor 3rd + Major 2nd + Major 2nd’. The tone of core(中心音) is ‘D<SUB>4</SUB>’ and the tone of cadence (終止音) of down cadence(下行終止) occurred as ‘G<SUB>3</SUB>’. These two music books show the same tone of appearance(出現音), the tone of importance(主要音) and the tone of core(中心音). The tone of importance(主要音) of ‘Hyeogjangga’ are ‘G<SUB>3</SUB>, D<SUB>4</SUB>, F<SUB>4</SUB>, G<SUB>4</SUB>’. The tune of the tone of importance(主要音) is conducted as ‘Perfected 5th + Minor 3rd + Major 2nd’ and there is a jump between sounds so ‘Hyeogjangga’ out of <Twelve Japga> shows a very dynamic melody. ‘Hyeogjangga’ is <Twelve Japga> with lyrical melodies and dynamic beats and shows narration changes by times but there is no change in beats, tone of appearance(出現音), the tone of core(中心音), and the tone of cadence(終止音). The be

소성변형에 따른 수소거동 변화 연구

송은주(Eun Ju Song),백승욱(Seung-Wook Baek),백운봉(Un Bong Baek),남승훈(Seung Hoon Nahm) 한국가스학회 2016 한국가스학회 학술대회논문집 Vol.2016 No.11

AHP를 이용한 커피교육 커리큘럼의 상대적 중요도

송은주(Song, Eun-Joo),박규은(Park, Kyu-Eun),이은용(Lee, Eun-Yong) 한국관광레저학회 2015 관광레저연구 Vol.27 No.5

예술의 미적 개념 변화와 뉴미디어 아트 특성

송은주 ( Song Eun-joo ),정회경 ( Jung Hoe-kyung ) 한국디자인트렌드학회 2011 한국디자인포럼 Vol.33 No.-

뉴미디어의 등장에 따라, 뉴미디어 아트의 표현 양식과 작품을 구성하는 요소에도 변화가 초래됐다. 뉴미디어 아트의 매체 형식 변화로 인해 그동안 중심이 되었던 시각적 요소이외에도 청각, 촉각, 참여적 요소의 변화가 두드러졌다. 따라서 본 논문은 뉴미디어 아트의 이러한 변화요소 분석을 통해 다음과 같은 6가지의 뉴미디어 아트 특성을 도출하였다. 즉 상호작용성(interactivity)의 구현, 네트워크(network) 구조, 촉각성(tactility)을 활용한 다감각, 시각과 청각의 공감각(synesthesia) 표현, 가상공간(virtual-space)을 포함한 공간 확장, 하이퍼미디어(hypermedia)의 복합성 이다. 이러한 각 특성은 독립적 성격으로 분류되는 것이 아니라, 특성 간 연계되어있거나 서로 포괄하기도 한다. 뉴미디어 아트의 특성으로 인해, 사람들은 과거 그림을 감상하던 관람자 입장에서 직접적으로 작품의 인터페이스에 개입하여 상호작용을 구현하는 사용자 입장으로 전환되었다. 콘텐츠와 관련된 뉴미디어 아트의 형식적 구조도 하이퍼미디어의 특성과 같이 비선형적, 다선형적, 다층적 구조로 변화되어 나타났다. 본 연구의 뉴미디어 아트 특성 파악은 현재의 시점에서 새롭게 변화된 뉴미디어 아트를 규정하고, 과거와의 연계 선상에서 향후 도래될 뉴미디어 아트의 세계를 조망하기 위한 것이다. The style of expression of New media art, that is component parts is changed recently according to new media expansion. Through the changes of media form of new media art, it showed that auditory, tactile, participatory elements besides visual elements. In this study, six new media art characteristics came from analysis of new media works on the following. In other words, realization of interactivity, network structure, multisensory by tactility, synesthesia of visual and auditory elements, space extension including virtual space, complexity of hypermedia. These characteristics exist, in the art works, not separately, but they are inter-related to and dependant on each other. The audiences, who were passively appreciate the art works, now can participate the production by controlling or even manipulating the interfaces for the interactivity of the art works, due to these innovative characteristics of the media art. The forms of the content have also changed for these new characteristics. They are nonlinear, multidirectional, and multi layered, just as the hyper media. This article defines the new media art from new perspective by characterizing the contemporary media art works, and foresees the new media art in the future.

의사소통 훈련 프로그램이 실습 간호학생의 의사소통, 대인관계에 미치는 효과

송은주(Song Eun Ju) 기본간호학회 2006 기본간호학회지 Vol.13 No.3

Purpose: This study was done to identify the effects of a communication training program on communication skills and interpersonal relationships. Method: A communication training program was provided to student nurses who were selected as participants during a course of clinical practice. Of the students 23 were assigned to experimental group and 22 to the control group. The experimental part of the study was done with the experimental group during 6 week program course. The control group received only a communication theory course. Results: Communication and interpersonal relations scores on the post-test in the experimental group were significantly higher than in the control group. Conclusion: This program allowed nursing students to advance their communication skills during their clinical trials. These are skills which are necessary for nursing practice. The study demonstrated that a group training program that can provide students with practical support by improving the personal relationship.

간호사와 간호대학생의 노인에 대한 지식 및 태도

송은주 ( Eun Ju Song ) 이화여자대학교 간호과학연구소 2004 Health & Nursing Vol.16 No.2

고등학생의 휴대폰 사용실태와 정신건강과의 관계

송은주 ( Eun Ju Song ) 한국정신간호학회 2006 정신간호학회지 Vol.15 No.3

치매간병가족을 위한 행복 더하기 프로그램이 가족간병자의 수면, 우울, 간병 부담감, 삶의 질에 미치는 효과

송은주 ( Eun Ju Song ),조혜경 ( Hae Kyung Jo ) 한국간호과학회 정신간호학회(구 대한간호학회정신간호학회) 2014 정신간호학회지 Vol.23 No.2

This study was conducted to verify how a program for family caregivers can affect the negative effects of loss of sleep, depression, burden of caring and poor quality of life in people who care for a family member suffering from dementia. Methods: This was a quasi-experimental study using a single-group pre-test-post-test design. This study was conducted between March 28, and May 30, 2013 in A city. The program was provided for 9 weeks. Eleven caregivers with a family member suffering from dementia participated in this study. Results: The second hypothesis on lowering the depression index (Z=-2.93, p=.003) and fourth hypothesis on improving quality of life (Z=2.02, p=.044) were supported. Conclusion: The results of the study indicate that the program for family caregivers is effective in lowering the depression index and improving quality of life of people who care for a family member who is a patient with dementia. More programs for caregivers are needed and should be developed and provided for family caregivers in the near future.

탈식민적 텍스트의 혼종성을 어떻게 번역할 것인가: 토니 모리슨의 『자비』(A Mercy)를 중심으로

송은주 ( Eun Ju Song ) 한국현대영미소설학회 2013 현대영미소설 Vol.20 No.1

This research analyzes linguistic heterogeneity in Toni Morrison`s A Mercy(2008) and explores how to deliver it in translation into Korean. As she has a keen self-consciousness as an African American novelist and tries to represent her racial identity through her poetic and experimental style and language, translating her works requires particular consideration of cultural and linguistic heterogeneity. She has continuously searched for ways to restore black cultural tradition, and to represent the experiences and histories of racial minorities in American society in her literature Therefore, it is necessary to consider how the cultural and historical contexts I her works influence her unique style and language, and attempt to reflect these elements in the target text. In A Mercy, Morrison`s experimental style and non-standard language use in the main narrative of Florens, a slave girl is noteworthy not only to show the historical and social context surrounding her, but also to source text with heterogeneity, the concept of foreginizing translation suggested by Lawrece Venuti could be helpful for it. The purpose of her peculiar language use can be said as an attempt to mark the trace of black struggle and resistance against the assimilation into the dominant culture by force. Venuti`s minoritizing translation could be an effectual method to reveal the existence of remainders which do not conform to the standard language, as Morrison intended. The black culture is still a subgenre which is not yet well-known or familiar, and is sometimes even disregarded in Korea. The introduction of heterogeneity in Morrison`s works in the process of translation could lead readers to be more conscious and understanding of differences.

박물관과 황야: 에머슨의 미국적 자연

송은주 ( Eun Ju Song ) 한국영미문화학회 2015 영미문화 Vol.15 No.1

This paper aims to analyze Ralph Waldo Emerson’s transcendental view of nature through the process that he conceptualizes nature as a “museum” and “wilderness.” He has been underestimated as an ecological thinker compared to Thoreau, because the former``s observation of the nature tends to be abstract rather than concrete or specific. However, his transcendental view of nature has influenced deeply on naturalist writers including Thoreau, and provided the basic foundations for the ecological thoughts in America. When Emerson traveled in Europe, he was deeply impressed by the exquisite displays of natural species in Jardin des Plantes in Paris. He discovered the totality and unity in nature from the method of these arrangements and classifications the exhibition used. He acquired the principle on the studies in nature. He interpreted each natural fact as a metaphor that carried out the intention of God. Moreover, he believed that he could reconstruct the relation between man and nature via recognition. After returning to America, he attempted to transform an American wilderness into a space where an American can be perceived as an independent subject free from the European influence and the one morally superior being to Europeans. His presentation of nature is newly proposed not through a museum, but through the American wilderness. It could be considered as a post-colonial attempt to become independent not only politically but also mentally and culturally, but his idealization and mythicization of the American wilderness have led him to an obsession that made him perceive the wilderness as pure and untouched nature in modern American ecocriticism.