A Phylogenetic Study of Korean Rodents (Muridae, Sciuridae) Based on Mitochondrial and Nuclear DNA

정길아,이서진,김철규,이항,김창배 한국동물분류학회 2010 Animal Systematics, Evolution and Diversity Vol.26 No.2

The subfamily Murinae is a very controversial group concerning their phylogenetic relationship. Previous studies could not resolve phylogeny among four genera Apodemus, Micromys, Mus and Rattus of the Muridae. In the present study, eight rodent species resident in South Korea were collected and phylogenetically analyzed based on sequence data of five mitochondrial and nuclear DNA regions: 12S rRNA, cytochrome b gene (cyt b),cytochrome oxidase II (COII), control region of mitochondrial DNA, and a thyroglobulin (Tg) of nuclear DNA. According to the phylogeny of the concatenated data, M. musculus separated early in Murinae (ML 100%; BA 1.00 pp) and the genus Rattus grouped with the harvest mouse, M. minutes; these were separated from the genus Apodemus with relatively strong support (ML 74%; BA 0.76 pp). The Siberian chipmunk population was also examined using the five genes to obtain better resolution. The phylogeny for Korean rodents determined using the 12S rRNA, cyt b, COII and control regions discriminated the Siberian chipmunk populations from Korea, Russia, and China.

해외독자통신 : 심양의 "괴상한 비탈길"

정길 평화문제연구소 1994 통일한국 Vol.123 No.-

영화에 반영된 영화음악에 관한 연구 : 영화 "Raiders of the lost Ark"를 중심으로 Focusing on "Raiders of the Lost Ark"

정길 한국영화교육학회 2001 영화교육연구 Vol.3 No.-

The golden age of Hollywood film score was up to the early 1960's. That hollywood film score's development was possible was two reason. First, studio system in Hollywood was developed and the great composers, such as Max Steiner, Erich Wolfgang Korngold, Alfred Newman, were born in succession. Peculiarity to their music are a theme music attendant upon psychology of the characters and development of the situation, leitmotive and symphony for orchestra in the whole reel. Second, another reason is social economy changes. A great number of European composer went to America during World warn, the healthy economy after the end of the 2nd war affected development of large-scale symphonic sound. Owing to complicated factor, symphony for orchestra was come to stay in Hollywood. This paper analyzed John Williams' score which upholded the theory of artistic backing of Erich Wolfgang Korngold, placed the focus on the connection between music and image. So I intend to show various effects of dramatic devices.

Molecular Taxonomy of a Phantom Midge Species (Chaoborus flavicans) in Korea

안해인,정길아,김창배 한국동물분류학회 2012 Animal Systematics, Evolution and Diversity Vol.28 No.1

The larvae of Chaoborus are widely distributed in lakes, ponds, and reservoirs. These omnivorous Chaoborus larvae are crucial predators and play a role in structuring zooplankton communities, especially for small-sized prey. Larvae of Chaoborus are commonly known to produce predator-induced polyphenism in Daphnia sp. Nevertheless, their taxonomy and molecular phylogeny are very poorly understood. As a fundamental study for understanding the role of Chaoborus in predator-prey interactions in a freshwater ecosystem, the molecular identification and phylogenetic relationship of Chaoborus were analyzed in this study. A molecular comparison based on partial mitochondrial cytochrome oxidase I (COI) between species in Chaoborus was carried out for the identification of Chaoborus larvae collected from 2 localities in Korea. According to the results, the Chaoborus species examined here was identified as C. flavicans, which is a lake-dwelling species. Furthermore,partial mitochondrial genome including COI, COII, ATP6, ATP8, COIII, and ND3 were also newly sequenced from the species and concatenated 5 gene sequences excluding ATP8 with another 9 dipteran species were compared to examine phylogenetic relationships of C. flavicans. The results suggested that Chaoborus was more related to the Ceratopogonidae than to the Culicidae. Further analysis based on complete mitochondrial DNA sequences and nuclear gene sequences will provide a more robust validation of the phylogenetic relationships of Chaoborus within dipteran lineages.

Optimal Monitoring Frequency Estimation Using Confidence Intervals for the Temporal Model of a Zooplankton Species Number Based on Operational Taxonomic Units at the Tongyoung Marine Science Station

조홍연,김성,이윤호,정길아,김충곤,정다금,이유철,강미혜,김하나,최해영,오지나,명정구,최희정 한국해양과학기술원 2017 Ocean and Polar Research Vol.39 No.1

Temporal changes in the number of zooplankton species are important information for understanding basic characteristics and species diversity in marine ecosystems. The aim of the present study was to estimate the optimal monitoring frequency (OMF) to guarantee and predict the minimum number of species occurrences for studies concerning marine ecosystems. The OMF is estimated using the temporal number of zooplankton species through bi-weekly monitoring of zooplankton species data according to operational taxonomic units in the Tongyoung coastal sea. The optimal model comprises two terms, a constant (optimal mean) and a cosine function with a one-year period. The confidence interval (CI) range of the model with monitoring frequency was estimated using a bootstrap method. The CI range was used as a reference to estimate the optimal monitoring frequency. In general, the minimum monitoring frequency (numbers per year) directly depends on the target (acceptable) estimation error. When the acceptable error (range of the CI) increases, the monitoring frequency decreases because the large acceptable error signals a rough estimation. If the acceptable error (unit: number value) of the number of the zooplankton species is set to 3, the minimum monitoring frequency (times per year) is 24. The residual distribution of the model followed a normal distribution. This model can be applied for the estimation of the minimal monitoring frequency that satisfies the target error bounds, as this model provides an estimation of the error of the zooplankton species numbers with monitoring frequencies.

VDSM 공정에서 적용되는 RTL - to - GDS Methodology 검토 및 적용

권오철(O Chul Kwon),정길임(Gil Im Jung),김주선(Joo Sun Kim),배점한(Jum Han Bae) 대한전자공학회 2000 대한전자공학회 학술대회 Vol.2000 No.11

존 윌리엄스의 영화주제곡 "레이더스 행진곡"에서의 관현악법 연구

정길 ( Jung Kil ) 세계음악학회 2010 음악과 문화 Vol.23 No.-

This study standardized the Instrumentation and Voicing structure, which were shown in the film score titled "Raiders of the Lost Ark: Raiders March" by John Williams (1932~), into the structure suggested by a writer, comparatively analyzed how they are operated by each passage and phrase, from the horizontal perspective, and then examined about principle of progression in orchestration based on this. Above all, in operating the instrumentation structure, some of the operating techniques, which become the important standard, were discovered as follows. Every phrase(4~8 measures), which was suggested the basic paragraph in each theme, is intentionally pursued consecutively a change in instrumentation structure. And the Fore Ground in the phrase, which is repeated the same theme, is maintained unity with the consecutive instrumentation. On the contrary to this, the Middle Ground or Rear Ground is operated the instrumentation structure that is weak in a change of timbre due to adding, omitting or replacing the supplementary instrument for reinforcing diversity. Nextly, the phrase, which is shown new theme, aims to strengthen diversity. Thus, the change of timbre in the Middle Ground and Rear Ground including replacement of musical instrument in the Fore Ground leads to being operated the big instrumentation structure. Also every transition is given a change in timbre and tone volume by adding, omitting or replacing the musical instrument by each functional part. Thus, the instrumentation structure is indicated that forms a sense of paragraph of each phrase. Lastly, even basic operating techniques are applied differently every passage. In other words, it is distributed fully to the operating technique in the prior phrase. Otherwise, new instrumentation structure is operated on the basis of the changed operating technique. Next, even in operating the voicing structure, a few operating techniques, which become the important standard, were discovered. Every phrase(4~8 bars), which was suggested the basic paragraph in each theme, is distributed so that thinness and thickness in voicing concentration can be contrasted vertically between functional parts in each (Fore Ground-Middle Ground-Rear Ground), and also is intentionally pursued consecutively a change in the voicing structure. And the phrase, which is repeated the same theme, is operated the voicing structure with a small change by overlapping or adding part in the middle ground or rear ground in order to reinforce diversity in addition to the basic voicing structure in exposition. And also, the phrase, which is shown new theme, is operated the voicing structure with a big change in voicing concentration from thin part to thick part and from thick part to thin part in order to emphasize diversity. Finally, every transition is shown the voicing structure, which forms a sense of paragraph in each phrase, by giving a change such as adding or omitting part and replacing thickness and thickness over each functional part. This study aimed to establish on the standard point in the principle of progression in orchestration by having sample as the operating technique, which was used in this work. In conclusion, a method of approaching the completion of the balanced orchestration is what considers relationship of horizontal progression based on the technique of vertical perspective. Also, it will be a good learning method even to practice the orchestration performance technique in the whole of this music as one sample, along with the contents of general conclusions that were suggested in the above. An analytical research in this aspect is desired to become an opportunity of new development in theoretical system and educational establishment in the orchestration technique.

애니메이션 “드래곤 퀘스트 IV”의 배경음악 중 “Battle for The Glory”에 나타난 관현악법 연구

정길(Jung, Kil) 한국만화애니메이션학회 2015 만화애니메이션연구 Vol.- No.39

이 논문에서는 일본 애니메이션 “Dragon Quest IV”의 음악 감독 코이치 스기야마(Koichi Sugiyama, 1931~)의 작품 “Battle for The Glory”에 나타난 관현악 운용 기법을 필자가 고안한 성부 분할법과 악기 편성 패턴, 리듬 패턴, 보이싱 패턴, 진행구간별 조화비를 기준으로 비교 분석하고, 그 결과를 토대로 관현악 편곡의 체계와 진행원리를 발견하는데 목적을 두었다. 그 결과 첫째, 5개의 주제가 나타난 각 악절은 각각 특정한 악기 편성 패턴을 가지고 있다. 각 주제의 제시와 반복, 재현이 나타나는 악절에서는 동일한 악기 편성 패턴을 유지하여 통일성을 강조하였고, 이와는 대조적으로 새로운 주제가 제시되는 악절에서는 악기의 교체법과 가감법을 사용하여 새로운 악기 편성 패턴으로 다양성을 제고하였다. 둘째, 보이싱 패턴은 전체적으로 전경부는 엷은 보이싱 구조와 중경부는 두터운 보이싱 구조로 구성된 “엷음-두터움”의 수직적 대조관계를 이루고 있다. 그러나, 제3주제는 “두터움-엷음”, 제4주제는 2개의 선율을 가진 “엷음-두터움”의 구조로 교체되는 다양성을 제고하고 있다. 셋째, 리듬 패턴은 전체적으로 전경부는 굵은 리듬 구조와 중경부는 잘은 리듬 구조로 구성된 “굵음-잘음”의 수직적 대조관계를 이루고 있다. 그러나, 제5주제에서는 “잘음-굵음”으로 교체되면서 다양성을 부여하고 있다. 넷째, 수평적 관점에서 진행구간별 조화비는 주제가 반복, 재현되는 구간에서는 통일성의 비율이 높고, 새로운 주제가 제시되는 구간에서는 다양성 비율이 높은 것으로 나타난다. 본 논문에서는 이 작품에 사용된 운용 기법을 통해 균형감 있는 관현악 운용 기법은 수직적 관점의 기법을 바탕으로 수평적 진행구간의 다양성 비율 관계를 추출하는 것이다. 이러한 측면에서 이 분석연구가 관현악 기법의 이론체계와 교육방법 확립에 새로운 페러다임으로 자리매김 되었으면 한다. The purpose of this study was to find a system and a progression principle in orchestral piece based on the outcome after comparatively analyzing the orchestral operation technique in “Battle for The Glory” out of the background music in the animation “Dragon Quest IV” by Koichi Sugiyama(1931~), who is a leading runner of Japan"s animation music, based on functional parts daccord & Instrumentation Pattern, Rhythm Pattern, Voicing Pattern, and harmonic ratio by progression section devised by the writer. As a result, first, five themes in this music have specific instrumentation pattern, respectively. In a passage that is shown exposition, reprise, and representation in theme, the unity was emphasized by maintaining the same instrumentation pattern. On the contrary to this, a passage of being suggested new theme is being used the exchange method and addition & subtraction in musical instrument in order to strengthen diversity. Second, the voicing pattern is forming the vertical contrasting relationship of “thinness-thickness” on the whole. However, the diversity is being intensified that is changed into the structure of "thickness-thinness" in the third theme and of "thinness-thickness" that has two melodies in the fourth theme. Third, the rhythm pattern is forming the vertical contrasting relationship of "big-small" on the whole. However, the fifth theme is being given diversity with being changed into the structure of "small-big." Fourth, the harmony by progression section from the horizontal perspective is shown to be high in the proportion of unity in the section of being repeated and represented the theme and to be high in the proportion of diversity in the section of being suggested new theme. In this study, the balanced orchestral operation technique through the operation technique, which was used in this work, is what extracts the relationship of diverse proportions in the horizontal progression section based on the technique of vertical perspective. In this aspect, this analytical study is desired to be positioned as a new paradigm in establishing a theoretical system and an educational method in orchestration.

존 윌리암스의 영화음악

정길(Jung, Kil) 한국산학기술학회 2011 한국산학기술학회논문지 Vol.12 No.12

본 논문은 존 윌리엄스(John Williams, 1932~)의 영화음악 “Star Wars-Main Title”에 나타난 악기편성과 보이 싱 구조를 필자가 구상한 분석기법으로 비교 분석하고, 그 결과를 토대로 관현악 편곡의 진행 원리를 발견하는데 목 적을 두었다. 또한 음악적 기본 요소들을 청각 인식도에 따라 3개의 기능 성부에 구분 배치한 기능적 성부 분할법을 적용하였다. 그리고 이를 바탕으로 관현악의 수직적 구조와 보이싱 구조를 패턴화하여 음악의 진행에 따라 나타난 변화와 운용 기법을 비교 분석하였다. 본 연구결과는 첫째, 각 주제는 특정한 악기편성 패턴을 갖고 있으며 각 주제 의 제시부, 반복부, 재현부에서 그것들을 일관되게 편성하여 통일성을 강조하고, 다양성 제고를 위해 중경부와 후경 부에 보조적인 악기의 추가와 가감 또는 교체가 시도되었다. 둘째, 각 단락 속에서 주제의 변화에 따른 악절별 악기 편성 패턴의 변화에도 중경부에 동일한 악기군을 편성하여 통일성을 유지하였다. 셋째, 각 주제를 이루고 있는 악구 별로 다양성을 제고하기 위해 성부의 추가나 생략에 의해 끊임없는 보이싱 패턴의 변화가 일어났다. 넷째, 악곡 전 체적으로 보이싱 농도가 “엷음-두터움”의 구조가 유지되었지만, 제3주제가 반복되는 제2단락에서는 “두터움-두터움” 의 독특한 변화로 다양성을 추구하였다. 다섯째, 제4주제가 나타나는 제4단락에서는 전경부와 중경부 음역의 역배치 로 또 다른 다양성이 제고되었다. 따라서 이 작품속에서 나타난 결론들을 토대로 관현악 편곡의 진행 원리 이해에 도움이 되었으면 한다. This study comparatively analyzed the instrumentation and the voicing structure, which were shown in the film music titled “Star Wars-Main Title” by John Williams(1932~), with analytical technique that the writer mapped out, and aimed to discover the progression principle in orchestration based on the results. Also, it applied a functional part-division method that was classified and distributed into 3 functional parts according to auditory cognitive level as for each of functional elements such as the musical element. And, it made it pattern for the vertical structure and the voicing structure in musical instruments, which were distributed to each functional part based on this, and comparatively analyzed the standard point in a change which were shown according to progression of music, namely, the operating technique. As for the results of this study, first, each theme has specific instrumentation pattern. Unity was emphasized by consistently organizing those things in exposition, reprise, and recapitulation of each theme. To reinforce diversity, an attempt was made such as adding and reducing auxiliary instruments in the middle part and the rear part. Second, even in a change of instrumentation pattern by passage in accordance with a change in theme amid each part, the same instrumental group was organized in the middle part, thereby having maintained unity. Third, to strengthen diversity by clause, which is forming each theme, a continuous change in voicing pattern was created by adding or omitting a part. Fourth, the voicing concentration was maintained the structure of “thinness-thickness” in the whole musical piece. However, in part 2 that is repeated theme 3, diversity was pursued with a unique change of “thickness-thickness.’ Fifth, in part 4 that is indicated theme 4, the other diversity was intensified with the inverted range in the front part and the middle part. Accordingly, based on the conclusions that were indicated in this work, it is desired to be conducive to understanding the horizontal consideration and the progression principle of orchestration.

[논평] “과정철학에서 본 주자학과 양명학”을 읽고

최진덕(崔?德),한정길(?正吉) 한국양명학회 2010 한국양명학회 학술대회 논문집 Vol.2010 No.10