음악연구의 새로운 가능성, 음악문화콘텐츠 창작: “한국 근대가곡으로의 여행,《봉선화》를 찾아서”

신혜승 한양대학교 음악연구소 2015 音樂論壇 Vol.33 No.-

Today the digitalization of the archetypes of Korean modern songs are undertaken actively. This paper aims to advance digitalized information about musical culture contents through the humanities reconstruction. To this end, this paper intends to trace the development of the musical culture contents, for example, using a case study of “Travelling to Korean Modern Songs in search of Bongsunwha (garden balsam)…”. Thereby, it adjust historical information on the stream of Korean modern songs from the 1920 to the 1930 to a digital environment, in order to activate the narrative context of Korean modern musical culture. Thus this paper will give an illustrative example of establishing a database through the humanities reconstruction. This example, will add a new dimension of creating meaning, beyond the mere outcome of changing the media, the outcome that one can obtain information about Korean modern songs, i.e. composers, poets, lyrics, scores, and musical sound in a digital environment. In doing so, this paper will provide a potential of music studies as a new theoretical tool for utilizing musical heritage, and enhance our understanding of Bongsunhwa. 한국 근대가곡의 원형에 대한 디지털 상에서의 보존 작업이 활발하게 진행되고 있는 현 상황에서, 데이터베이스 기술력을 통해 디지털화된 정보들을 인문학적인 재구성을 통해 음악문화콘텐츠 창작이라는 단계로 진전시켜 보고자 함이 이 논문의 목적이다. 디지털 기술을 활용한 음악유산의 발굴과 체계화에 머물지 않고, 그 활용에 있어 음악연구가 할 수 있는 가능성 중 한 가지를 제시해 보고자 한 것이다. 그 예로서, 필자는 “한국 근대가곡으로의 여행, 《봉선화》를 찾아서…”라는 테마 아래, 1920~1930년대에 불린 한국가곡의 주체와 흐름을 디지털 환경 내에서 역사적 정보와 접목시켜 서사적 방식으로 활성화시키고자 한다. 단순히 한국가곡에 대한 정보(인물, 악보, 가사, 음원 등)를 디지털 환경에서 살펴볼 수 있도록 하는 매체 변환의 차원이 아니라, 이러한 정보를 내용에 따라 재구성하여 의미를 만들어 낼 수 있는 수준으로 끌어올리는 지식화의 방향을 모색하고자 한 것이다.

휴믹산 수용액 상태에서의 Aroclor 1254의 광화학적 탈염소화 반응

신혜승,김재현 동덕여자대학교 2003 생활과학연구 Vol.8 No.-

Present work indicated that Aroclor 1254 degrades via indirect proteolysis initiated by humic acid(HA) in 1% acetonitrile water. It was observed that humic acid enhanced the photodegradation in NaOH occurred increasingly at higher pH than at low pH conditions. In this study, some of the dechlorinated products of the reaction were identified, however the peaks of hydroxylated compounds were unidentified. The photodegradation rates of Arclor 1254 depended on the increasing exposure time in the presence of humic acid, suggesting that the contribution of selected photo-generated reactive transient compounds and the reductive photodechlorination process were indicated. The results indicate that the main mechanism of this photochemical system is photodechlorination and a valuable method to decompose Aroclor 1254 efficiently in terms of waste treatment.

18세기 중반 영국의 건반악기 음악에 관한 연구 : 토머스 안(Thomas Augustine Arne)의 건반악기 소나타와 건반악기 콘체르토를 중심으로

신혜승 이화여자대학교 음악연구소 2005 이화음악논집 Vol.9 No.-

The mid-eighteenth century was one of the most prosperous periods in the entire history of western music. Before the musical practice of the new Classical period completely replaced that of the Baroque period, a considerable amount of overlapping of two practices occurred, in forms, characters, and styles. Composers of this period had access to forms of both the Baroque and the Classical periods. The variety created by the use of different forms provided heightened excitement and pleasure for the audience. Under the influence of the Enlightenment, simple and natural music was preferred. The elegant and aristocratic elements of the Rococo, as well as the contrapuntal forms of the Baroque all coexisted in this period. Thomas Augustine Arne (1710~1778) was one of the most prominent composers of the eighteenth century in England who was also an active violinist and keyboard player. He played an important role in the development of theatre music. Although his instrumental composition was not of significant quantity, his exploration of various forms such as overture, sonata, symphony, and keyboard concerto contributed to the formation of genre for instrumental music in the Classical period. His instrumental music exhibits a style that is transparent, clear and of pure musical expression. Arne's keyboard works, Ⅷ Sonatas or Lessons for the Harpsichord (1756) and Six Favourite Concertos for the Organ, Harpsichord, or Piano Forte with Instrumental Parts, for Public and Private Concerts (1793) were of marked historical importance because they conveyed the simplicity of Viennese Classical music. Although Arne never traveled outside his homeland, he captured the flavors of different forms from other countries as well: French overture, lyrical Italian Adagio, and contrapuntal German style all appear in his works. As a patriot, he was fond of English melodies, style of the voluntary and the theme and variations form. In the mid-eighteenth century, London became a centre for musical exchange as her culture and social system began to expand and strengthen. The active musical environment of London enabled composers to free themselves from the support of the Court or the Church. Accordingly London became an important centre for many composers of the continent, who either moved to, or traveled to London to produce many works or for musical performances. The following were continental composers who pursued their musical careers in England: Francesco Geminiani (1687~1762), Giuseppe Sammartini (1695~1750), Giovanni Battista Pescetti (1704~1766), Baldassare Galuppi (1706~1785), Pietro Domenico Paradisi (1707~1791), Domenico Alberti (1710~1740), Vincenzo Legrenzio Ciampi (1719~1762), and Mattia Vento (1735~1776), who were Italian-born composers who played important roles in the development of English keyboard music. Johann Adolph Hasse (1699~1783), John Christian Mantel (1706~1761), Johann Christian Bach (1735~1782), George Berg (1730~1775) of Germany, Georg Christoph Wagenseil (1715~1777) of Austria and Johann Joachim Agrell (1701~1765) of Sweden also worked in London, adapting the music of diverse cultures and passing their own to others. The important keyboard composers of Britain at this time were Richard Jones (late 17th century~1744), Maurice Greene (1696~1755), Thomas Chilcot (1700~1766), Henry Burgess Jr.(fl. c1740), Joseph Kelway (1702~1782), William Hayes (1708~1777) John Stanley (1712~1786), William Felton (1715~1769), James Nares (1715~1787), Richard Mudge (1718~1763), Charles Burney (1726~1814), John Jones (1728~1796), John Burton (1730~1782), Elisabetta Gambarini (1731~1765), and Philip Hayes (1738~1797), who were mostly competent harpsichordists and organists. Although they were not considered to be among the well-known composers in the history of western music, their contribution to music should not be ignored, as they adapted various forms and incorporated them in their works. Thomas Arne accepted the new while keeping the old, and the refinement and creativity displayed in his keyboard works greatly influenced his contemporaries. His keyboard works were typical and yet valuable examples of compositions written in the period between the Baroque and the Classical eras.

폐 세포 분화에 필수적인 tRNA 합성물의 공동인자인 p38에 의한 FUSE-binding protein과 c-myc의 downregulation

신혜승,Sin, Hye-Seung 한국식품연구원 2003 食品技術 Vol.16 No.4

‘시가 노래하도록, 음악이 말하도록’- 사회현상의 거울로서의 《로렐라이》를 중심으로 -

신혜승 한양대학교 음악연구소 2013 音樂論壇 Vol.30 No.-

This paper purposes to attempt a new description of the lied Lorelei of nineteenth century through social, political, cultural, and historical context. In the nineteenth century, the lied expressed a myriad forms of life that could not be defined by only language. Heine's poem Lorelei that contained a satire and metaphor was composed by many composers, so I tried to research how to express Lorelei with music by Friedrich Silcher, Franz Liszt,Robert Schumann, and Clara Schumann. First, Silcher composed Lorelei with folk tune and light accompaniment of keyboard, so then many people can easily remember and sing a song. Second, Liszt composed dramatically Lorelei like as Opera. Third, Robert Schumann composed Lorelei softly and lightly which was written by Wilhelmine Lorenz. Clara composed with exactly recognizing the hidden meaning of Heine’s poem. So Clara’s Lorelei was effectively expressed by appropriate key,melody, harmony, range, piano accompaniment pattern, dynamics, and so on. Clara recognized more about the message of Heine than a person ever knew that romanticism captivated the German peoples to fall into the world of dream, fantasy and mystery, and to do not face up to the reality, finally to fall to their doom. Eventually Clara's music rather had spread more massages than Heine's text. 19세기 리트는 언어만으로는 정의할 수 없는 삶의 무수한 형태를 인식하며 표현하는 가능성을 보여주었다. 하이네의 시 속에 담긴 사회참여적인 신랄한 아이러니,풍자, 비유, 해학 등의 속성은 작곡가들의 자의적 해석방식에 의해 매우 다양하게표현되었는데, 음악이 문학의 사회 참여적 성향을 어떤 방식으로 표현하였는지를《로렐라이》를 중심으로 살펴보았다. 질허는 유절형식으로 이루어진 단순한 민요풍의 선율과 가벼운 반주로 《로렐라이》가 광범위하게 입에 오르내리며 노래 불려 지도록 작곡했으며, 리스트는 한편의오페라처럼 드라마틱한 구성으로 《로렐라이》를 재창조했다. 로베르트 슈만은,같은 주제이지만 로렌츠의 감상적인 시를 채택하여 감미로운 목소리로 속삭이듯이 부드럽고 가볍게 작곡했다. 클라라 슈만은 하이네의 시에 내포되어 있는 숨은 뜻을 조성, 선율, 화성, 반주패턴, 음역, 다이내믹 등을 통해 효과적으로 표현하였음은 물론, 중요한 측면들은음악적으로 더욱 부각시켰다. 그녀는 하이네가 전하려는 메시지가 당시 독일 민족이 낭만주의에 사로잡혀 현실을 직시하지 못하고 꿈과 환상의 세계에 빠져있음을경고하는 메시지였음을 누구보다도 크게 인지하고 있었음에 틀림없다. 이러한 클라라의 음악은 하이네의 텍스트보다 오히려 더 많은 일을 해낸 것처럼 여겨진다.

음악사 서술의 미시(微時)적 접근: 계몽시기 여성작곡가, 두 명의 안나 아말리아

신혜승 한국음악학학회 2008 음악학 Vol.16 No.-

In the method of studying and writing the historical facts about women composers in Enlightenment, I will adapt the method of micro-approach. Microhistories take the opposite tack to the large-scale, grand narrative approach that deals with major themes running over several centuries. Microhistorians build on the obscure and unknown rather than on the great and the famous. They take very small incidents in everyday life and restate them as stories, analysing them as metaphorical and symbolic clues to larger things. Thus they often disclose something of the relationship between the popular and the elite so as to inform a wider historical picture. If you focus on the cultural reality and social context rather than music forms in the view of women musicians, a role as a disseminator of music in relation with women inherent character became into relief importantly, which can be a main subject of music research. Through this, women can be acknowledged as composers, performers, musicologists. ‘Micro perspective in historical writhing of music’ is one of the methods to become a real music history. The Study on women musicians (for example, Anna Amalias and Gambarini) who was in the outside of history inevitably need a approach of this micro perspective. I hope that other composers and their works as well as Women musicians and their works be used positively in the cultural and social context, of which position be restored, and be lively adapted to present stage or education.

1945년 이전 트로트 가요의 선율유형

신혜승 성균관대학교 부설 인문과학연구소 2001 人文科學 Vol.31 No.-

PCBs의 광화학적 연구: NaOH 및 휴믹산 (humic acid, HA)에 의한 분해특성

신혜승,김재현,Shin, Hae Seung,Kim, Jae Hyoun 한국환경보건학회 2014 한국환경보건학회지 Vol.40 No.2

Objectives: This study was carried out to examine whether the apparent photolysis with or without sensitizers [NaOH and humic acid (HA)] was prompted photodegradation of polychlorinated biphenyl (PCB) in aqueous solution. Methods: PCBs photodegradation occurred using fluorescence black lamps at ${\lambda}_{max}=300nm$. PCB congeners were exposed in 10 ppm HA or 0.05N NaOH solutions, to investigate the decreasing profile of PCB concentration with time. The PCBs were then analyzed by gas chromatography/mass spectrometry (GC-MS). Reductive degradation profile of PCB congeners in the presence of both sensitizers under oxygen-saturated protic conditions was described using the wind-rose diagrams. Results: Use of HA or NaOH decreased PCB concentration with time in the dark and on irradiation, indicating that photolysis underwent through reductive dechlorination through energy transfer and possibly with reactive oxygens. The dechlorination was marked by a chromatographic shift, observed in the GC-MS plots. Therefore it is logical to assume that increasing the dose of sensitizers would increase the photodegradation rates of PCBs. The half-lives of pentachloro-PCB (penta-3) in 0.05N NaOH and 10 ppm HA were estimated at about 47 hours and 39 hours, respectively, under the same experimental conditions of photolysis. It was found that the rate of photolysis of pentachloro-PCB in aqueous solution followed apparent first-order kinetics compared to other congeners. Conclusion: Photochemical degradation (using 328 nm UV light) of penta- and hexa-PCBs in HA or alkaline solution is a viable method for pretreatment method. The results are helpful for the further comprehension of the reaction mechanism for photolytic dechlorination of PCBs in aquatic system.

디지털 음악학: 새로운 공간, 새로운 관계 맺기 -보존에서 창조로-

신혜승 세계음악학회 2022 음악과 문화 Vol.- No.47

Musicologists who read, analyzed, and discussed sheet music and literature were given a new tool: digital technology. In musicology research, a new environment of study has been opened where new research methods and attempts can emerge. In order to explore what kind of music research can be derived under the digital environment, I first looked at the concepts and cases of digital humanities. Based on this, we discussed what kind of digital music research has been conducted so far and connected it with cases of digital musicology. Digital musicology can be defined as a concept that encompasses various research topics, scope, and methods, as well as innovation in the method of research and education in musicology. For example, in digital musicology research, you can visualize the data, show the network, and analyze them so that the relationship can be easily understood. In addition, it is possible to provide a vivid sense of presence of music as an auditory art while storytelling by connecting information and materials in space and time. In this respect, digital musicology will be positioned not only as an academic achievement but also as a new way for the public to enjoy culture. Digital musicology will have cultural potential that can be used in various fields, and through this, the meaning and role of musicology will be further expanded. .

역량기반교육에 따른 대학 골프학과 교과과정의 분석과 전환

신혜승,신민혜 한국골프학회 2017 골프연구 Vol.11 No.1

[목적] 본 연구는 역량기반교육에 따른 대학 골프학과 교과과정에 반영되어야 할 형식과 내용이 무엇인지 살펴보 는데 목적이 있다. [방법] 이를 위해 문헌분석과 동료검토, 전문가검토를 통해 골프학과 교과과정과 역량에 대한 개념을 비교·분석하고 전문가 협의를 과정이 포함된 다각도분석법(triangulation)을 실시하여 교과과정-역량의 연 계성을 분석하였다. [결과] 연구의 결과 골프학과 교과과정이 대체적으로 ‘교양 및 전문학습 역량’ 함양에 초점이 맞추어져 있는 것으로 나타났다. 각 역량의 표기 합계는 ‘교양 및 전문학습(40회)’, ‘전공실기(14회)’, ‘대인관계(10 회)’로 나타났다. 따라서 미래 사회에서의 필요역량을 함양할 수 있는 교육의 기회를 제공하고 학생들의 다양한 진로진출을 위한 역량기반의 골프학과 교과과정에 대한 대안을 제시하였다. [결론] 첫째, 교과목의 목표와 취지에 따른 실제적이며 올바른 시행으로의 변화이다. 둘째, 교과목에 따른 다양한 역량이 함양될 수 있는 교과과정 내 용의 개편이다. 셋째, 역량 개념에 대한 교수자의 올바른 이해이다. 즉 학습자들에 대한 역량-진로 교육도 중요하 지만 교수자에 대한 역량-진로 연계 교육이 함께 이루어졌을 때 역량기반교육의 내실화를 이룰 수 있을 것으로 판단된다. [Purpose] The purpose of the study was to explore the feasibility for application of competency education to the academic curriculum of the golf department. [Method] Literature review to list up golf curricula of five different colleges and compare their similarities and differences was performed at first and expert review followed to investigate what competencies each course contains. [Results] The results of the study show that the competency of ‘general education and golf academics’ was ranked the highest with 40 marks, the competence of ‘golf techniques’ with 14 below the top, and ‘interpersonal competency’ with 10 as the third. The others earned 1 to 5 marks. [Conclusion] The academic curriculum of golf, given the results of this study, needs to provide opportunities for golf students to acquire contemporary society-demand competencies that also help their job search and employment in diverse fields after graduation.