커피전문점 서비스 품질 평가와 만족도에 관한 연구

송은 한국식품영양학회 2011 한국식품영양학회 학술대회논문집(학술심포지움) Vol.2011 No.06

2P-53 : Cultured dermal substitute composed of collagen sponge with fibroblast

송은,이상봉,정성인,조성관,이영무 한국공업화학회 2003 한국공업화학회 연구논문 초록집 Vol.2003 No.-

Cultured dermal substitute composed of collagen sponge with fibroblast

송은,이상봉,정성인,조성관,이영무 한국공업화학회 2003 한국공업화학회 연구논문 초록집 Vol.2003 No.1

우리나라 일부 대학생의 식품위생지식과 수행도

송은 한국식품영양학회 2014 한국식품영양학회 학술대회논문집(학술심포지움) Vol.2014 No.12

문화콘텐츠로서 포스트드라마 연극의 탈경계적 성격

송은아 한국엔터테인먼트산업학회 2019 한국엔터테인먼트산업학회논문지 Vol.13 No.4

If a drama play is interested in recreating the play text on stage, the post-drama play aims at a drama that has been liberated from the play text. In this process, the boundaries created by drama theater are dismantled. Actors and audiences, fiction and reality, theater and non-theater, works and events, language and non-language are the names of typical boundaries. The demolition of these boundaries is an opportunity to restore the festival character of ancient Greek theater, which was forgotten by drama theater. This has led to the dismantling of language-centric and play-centricism, which has dominated the play since Aristotle, and has led to a new play. If language-centered, play-centricism has brought about the crisis of drama, the post-dramatic play dismisses them and finds ways to communicate with the audience as new cultural content. The method is found above all in the restoration of dramaturgy. This is because the post-drama plays are more dependent on theatricality than literature. The demilitarized nature of post-dramatic play with enhanced theatricality will be a stepping stone to popularization, and this shows the possibility of post-dramatic play as cultural contents.

문화산업으로서 축제 콘텐츠의 활성화 방안 – 거창국제연극제를 중심으로 -

송은아,임준묵 한국엔터테인먼트산업학회 2018 한국엔터테인먼트산업학회논문지 Vol.12 No.8

The purpose of this study is to present a strategy to diagnose the present condition of the international theater festival and to search for future development direction. It is true that the Geochang International Theater Festival has established itself as a relatively successful local cultural event, but it has also encountered various limitations as it repeatedly went on. There are local theater festivals that are aiming international festivals compared to the past. Therefore, it is necessary to check the identity of the international theater system. In order for the Geochang International Theater Festival to adapt to the changing environment and strengthen its position as a local cultural event, it is essential to draw accurate diagnosis and strategies. In this study, six activation strategies of the international theater were presented. Strategic Branding of Geochang as a Cultural and Artistic City in the Age of the Fourth Industrial Revolution. Development of culture and arts festival contents for local residents. Attracting audience with contents and program development by establishing professional marketing strategy. Establish communication system through organization reorganization. Improvement of city service quality of Geochang. Securing permanent theaters and exhibition halls.

거짓말 열매

송은서 고요아침 2024 한국동시조 Vol.- No.24

공연예술 콘텐츠의 관객 감동 결정요인

송은아(Eun-A Song),임준묵(Joon-Mook Lim) 한국엔터테인먼트산업학회 2018 한국엔터테인먼트산업학회논문지 Vol.12 No.1

본 논문은 공연예술 콘텐츠에 있어서 관객 감동을 결정짓는 요인에 관해서 다룬다. 일반적으로 서비스를 통한 고객의 만족은 서비스의 제공단계, 서비스 제공을 통한 고객만족 단계, 만족을 넘어 고객감동에 이르는 단계로 구분한다. 서비스에 있어서 고객만족은 소비자의 재구매 또는 구전으로 이어지지 못하는 한계를 지니고 있음이 알려져 있으며, 반면에 감동의 서비스는 재구매 또는 구전에 직접적인 영향을 미침이 실증적인 연구로 증명되기도 했다. 본 논문은 연극 및 뮤지컬 등의 공연예술 콘텐츠에 있어서 관객들의 감동 요인을 분석하고자 한다. 현재까지 공연예술분야의 관객 만족에 관련된 연구에서는 관객의 만족도에 영향을 미치는 요인에 관련된 연구에 집중되었고 관객 감동에 관련된 연구는 알져져 있지 않다. 본 연구에서는 실증적인 분석을 통해서 공연예술 콘텐츠의 관객 감동 결정의 요인들을 분석함은 물론 기존의 관객 만족 요인들과의 비교를 통해 그 차이점을 설명한다. This paper deals with the determinants of audience delight in performing art contents. Generally, customers` satisfaction through service is divided into service provision stage, customer satisfaction stage through service provision, and customer delight stage beyond satisfaction. Customer delight in service is known to have limitations that do not lead to repurchase or word of mouth. On the other hand, impressive service has been proven by empirical research that directly affects repurchase or word of mouth. In this paper, we try to analyze the delight factors of audiences in performing arts such as musicals and theater. To date, research related to the satisfaction of audience in the performing arts field has focused on the factors affecting the satisfaction of the audience, and studies related to customer delight not known. The purpose of this study is to analyze the determinants of customers" delight in performing arts services through empirical analysis and to explain the difference between them and existing customer satisfaction factors.

헤르만 헤르츠버거의 사회적 소통을 위한 교육공간특성 연구

송은아(Song, Eun-A),김문덕(Kim, Moon-Duck) 한국실내디자인학회 2011 한국실내디자인학회논문집 Vol.20 No.6

Recently, a new paradigm for the change in recognition on educational spaces and their recycling has been spotlighting a concept of community school. However in Korea, there have been few changes in physical environment since the modern education started, due to the inconsistent educational policies and bungled administration. In contrast to Korea, Netherlands has been activating educational spaces to communicate with the local community, reacting to the change in several educational policies for the last 20 years. We, therefore, need to analyze the recent community school of Herman Hertzberger who starting with the Montessori School, came to the fore with a proposal of new relational educational spaces. For linking his relational architectural philosophy to the local community and community school, he applied it to a contact area. He then organized socially sustainable spaces to promote different acts to take place, laying stress on mutual forms and behaviors between spaces and spaces, spaces and people and people and people. In addition to a structural relation with the macroscopic community of architecture, he also created opened spaces, not those where are independent or disconnected, by encouraging users to meet and act in detailed components such as stairs, walls, windows and others. This study aims to consider how Hertzberger"s various community spaces in the community school have been created after the 2000s and suggest design plans for educational spaces to communicate, according to the recent educational trend aspiring towards open education.

휘모리잡가 <바위타령> 연구

송은도 한국국악학회 2012 한국음악연구 Vol.52 No.-

서울지방 잡가(雜歌)의 하나인 휘모리잡가는 우스꽝스럽고 익살스러운 곁말 투성이의 사설(辭說)을 빠르게 휘몰아쳐 부르기 때문에 이런 명칭을 갖게 되었다. 이러한 휘모리잡가 중 <바위타령>은 1910년대 이익현에 의해 지어져 <맹꽁이타령>, <곰보타령>과 함께 주요 레퍼토리로 불렸는데, 다른 휘모리잡가와 구별되는 특징을 가지고 있어 주목된다. 이에 본고에서는 유성기음반에 수록되어 있는 설중매 唱, 최정식 唱 그리고 현재 전창되는 이창배 唱 <바위타령>을 분석한 결과, <바위타령>은 시조와 같이 크게 세 부분으로 악곡이 구성되며 처음 부분과 마지막 부분은 시조의 장단과 마찬가지로 주로 5․8․8․8박 장단을 사용함을 알 수 있었다. 또한, 본격적으로 바위를 노래하는 중간 부분은 3소박 4박장단을 중심으로 노래하고 더러 3소박 6박장단을 사용하기도 한다. 또한, <바위타령>의 사설단위와 선율단위는 반 장단 1소절의 선율이 두 개 모여 한 장단 길이의 1악구를 이루게 된다. 즉, 이 짝을 이루는 두 개의 악구는 그 장단의 선율의 끝 부분에서 특히 차이를 보이는데, 선행하는 선율은 소리를 달고 나가고 뒤따르는 선율은 뒤를 맺어주는 ‘다는 선율’과 ‘맺는 선율’로 되어 있다. 마지막으로 세 창자 중 가장 먼저 녹음된 설중매는 ‘진경토리’로 노래하고, 최정식은 ‘신경토리-남도경토리-진경토리’로 노래하며, 이창배는 ‘신경토리’로 노래하는 점으로 미루어 볼 때, 설중매의 노래가 서울 지역의 음악적 특징을 가장 잘 나타내주고 있음을 알 수 있다. 그리고 최정식에게 사사 받은 이창배의 경우는 사설이 확대되면서 예전 창자들에 비해 장식음을 많이 사용하고, 다양한 장단을 활용하여 음악적으로 변화를 주고 있음을 알 수 있다. 이상과 같이 휘모리잡가 <바위타령>은 시대가 지날수록 사설이 확대되었을 뿐 아니라 음악면에서도 처음에는 경토리를 중심으로 불렸으나, 후대에 올수록 ‘신경토리’와 ‘남도경토리’가 혼용하여 가창하기도 하고, 음악적으로 다양한 변화를 추구하여 현재에 이르렀음을 알 수 있다. Hwimori-Japga, the folk songs of Seoul, have been named because humorous and ridiculous stories were sung fast and ragingly in these songs. As the one of Hwimori-Japga like Maengkkung’ee Taryung and Gombo Taryung, Bawi Taryung, composed by Ik-Hyun Lee in 1910s, was sung as a major repertory but this song has distinguishable characteristics against other Hwimori-Japga. The three of Bawi Taryung sung by Seoljungmae, Jung Sik Choi, and Chang Bae Lee respectively were analyzed in this research. In this analysis, this song is consist of three parts and 5․8․8․8 rhythm were used in the first and last parts like a structure of Sijo (traditional Korean poem). In the middle part, 4 beat-rhythm with 3 smaller beat-rhythm (3-sobak 4-bak rhythm) was used but occasionally 6 beat-rhythm with 3 smaller beat-rhythm (3-sobak 6-bak rhythm) was. Additionally, each phase of story part and melody part of Bawi Taryung is consist of 2 measures with half beat rhythm and these 2 phases of each pair have significantly different characteristics in the end of melody. The leading melody has a Daneun melodic pattern and the following melody has a Meanneun melodic pattern. In the analysis of the songs by each singers, Seoljungmae who recorded this song earliest sang in Jin-Gyeong Tori, Jung Sik Choi sang in Shin-Gyeong Tori - Namdo-Gyeong Tori - Jin-Gyeong Tori, and Chang Bae Lee did in Shin-Gyeong Tori. Among the songs, Seoljungmae’s song present the musical characteristics of Seoul very well. Bawi Taryung, as one of Hwimori-Japga, has been extended in story and changed such as from Gyeong Tori to Shin-Gyeong Tori or Namdo-Gyeong Tori in the singing of this song. Thus, various changes were applied in this music with time.