영화에 활용된 사운드 대위법(Contrapuntal Sound) 양상 연구- 몽타주 이론 중 비일치의 원리를 중심으로 -

이현준,한경훈 한국문화융합학회 2024 문화와 융합 Vol.46 No.3

영화에서 ‘사운드 대위법’이란 의도적으로 장면과 어울리지 않는 음악을 활용하는 기법이다. 예컨대, 폭력적이거나 혼란스러운 장면에서 밝고 경쾌한 음악을 사용하거나, 노래곡의 경우 평화로운 가사를 사용하여 일종의 반어법적 충격을 전달시키는 연출 기법을 일컫는다. 이 같은 사운드 대위법 기법을 효과적으로 사용할 때 장면을 통해 전달하고자 하는 메시지를 감정적으로 극대화시켜주며 관객으로 하여금 해당 장면에 깊은 인상을 남기도록 돕는다. 이에 본 연구는 아카데미 영화상 수상 작품들로 권위가 인정된 네 편의 영화를 선정하여 장면과 음악 분석을 중심으로 사운드 대위법의 활용 양상과 삽입곡의 가사에 내포된 사운드 대위법의 양상을 분석하였다. 이와 같이, 영상과 음악의 상호작용을 고찰한 결과, 의도적인 사운드 대위법의 활용이 영화 속에서 감정 연출의 극대화 효과를 이끌어 낸다는 점을 확인할 수있었다. 또한, 사운드 대위법의 여러 기법 중 몽타주 이론을 중심으로 한 비일치의 원리 기법이 다수의사례를 통해 확인되었다. 본 연구를 통해 영화에서 활용되는 사운드 대위법에 관한 연구가 확장되기를바라고 향후 영화음악 관련 연구의 발전에 기여할 수 있기를 기대한다. In films, soundtrack dissonance refers to the technique of deliberately using music that does not match the visuals. For example, bright and cheerful music might be used in violent or chaotic scenes, or lyrics might be used to maximize the shock, creating emotional impact and atmosphere. When used effectively, it can be a powerful tool, leaving a deep impression on the audience and enhancing the emotional impact of a scene. This study examines four prestigious works, including Academy Award winners and nominees, by analyzing scenes and music. It compares and analyzes the musical features in the scenes to identify the characteristics of audiovisual dissonance. Through this research, it is hoped that continuous study of soundtrack dissonance in films will be encouraged, contributing significant meaning and value to the future development of film music.

황지우 시에 나타난 몽타주 기법 연구

이기주 ( Ki Ju Lee ) 한국언어문화학회 2015 한국언어문화 Vol.0 No.57

Long-distance Assimilation in Optimality Theory

Chang-beom Park 한국중앙영어영문학회 2011 영어영문학연구 Vol.53 No.4

The purpose of this study is two-fold: (i) to review various approaches to ‘long-distance assimilation’ (namely, harmony) within the framework of Optimality Theory (Prince and Smolensky 1993), and (ii) to examine which approach is the most successful to the process. In autosegmental phonology (Goldsmith 1976), the process is mainly accounted for by feature spreading, formalized by association lines between features and segments. However, the Optimality Theoretic approach requires a different perspective: it needs to involve, not rules forcing the harmonic features to spread, but constraint interaction filtering wrong candidates that are under- or over-harmonized. Various approaches have been introduced in this connection. This study classifies them into two main streams: (i) the autosegmental spreading approach, and (ii) the agree-based approach. Through the examination, this study shows that the agree-based approach, especially no-disagreement, is more successful than others to account for harmonic process. The approach without autosegmental representation does not require any specific pro- spreading constraint or representational modification for harmony, and does not induce any problems others have, such as wrong typological prediction and ‘sour-grapes property’. In conclusion, this study verifies that harmonic process can be accounted for without autosegmental spreading.

등위 접속 명사구의 일치 비대칭 문제 - 허사 there 구문과 관련하여 : 등위 접속 명사구의 일치 비대칭 문제

이근희(Keun-hee Lee) 한국영미어문학회 2007 영미어문학 Vol.- No.82

In English, verbs that occur after conjoined subjects are required to be plural. However, the verbs that occur before the subject nouns seem to have more flexibility in agreement. In this paper, by reviewing Sch?tze"s (1999) processing effect, which is suggested to argue that singular agreement with plural associates in expletive constructions conforms to the grammar and is not the result of a virus, I"d like to show that asymmetry like this can be accounted for as grammatical phenomenon rather than superficial one. And then I tried to find a solution to the asymmetry problem by using the syntactic operation through Agreement in Chomsky (2000) and by applying Ninuma & Park"s (2003) analysis, which shows the asymmetry between Move and Agreement.

무용 동작과 음악 요소의 일치감에 관한 연구

이소연 ( So Yeon Lee ) 한국달크로즈유리드믹스학회 2009 종합예술과 음악학회지 Vol.3 No.2

본 논문은 무용을 이루고 있는 여러 요소 중 음악이 무용의 핵심적인 구성 요소임을 전제로 하여 무용 동작과 음악 요소의 일치감에 대해 연구한 것이다. 본문은 무용 동작의 이해(I), 무용 동작과의 일치를 위한 음악 요소(II), 발레 동작에 대한 음악 요소의 적용(III)의 내용으로 이루어진다. 이 연구를 통해 무용을 전공하는 학생, 무용 교사 및 발레 클라스 반주자 모두에게 무용과 음악의 상관 관계에 대한 실질적인 이해와 지식을 전달하고자 하며, 궁극적으로는 발레 클라스의 효율성을 높이고자 하는 것이 본 논문의 목적이다. 이 연구의 결론을 요약하면 다음과 같다. 첫째, 무용은 음악의 형식과 박자, 템포, 리듬뿐 아니라 음악에서 느껴지는 정서나 주제 등이 그대로 반영되는 예술이다. 그러므로 이러한 음악의 요소들이 무용 동작과 어떻게 일치 또는 의도적으로 비 일치시키는가가 무용 공연의 완성도에 큰 영향을 미치게 된다. 둘째, 발레 클라스는 박자와 템포, 리듬, 악센트 등의 음악 요소와 무용 동작의 일치가 구체적이며 실질적으로 적용되는 분야이다. 셋째, 발레 클라스에서 반주자의 역할이 더욱더 증대되고 있는 것이 현 상황으로 반주자는 다음과 같은 역할을 수행해야 한다. · 발레 동작에 맞는 정확한 리듬을 구사하여 동작 수행에 도움을 줌 · 다양한 장르의 음악을 통해 학생들의 음악성 및 음악적 역량을 키우는데 일조함 · 발레 교사와의 원활한 커뮤니케이션을 통해 함께 수업을 이끌어 나감, 넷째, 발레 클라스의 반주자는 무용의 어휘와 동작의 호흡을 잘 이해하여 각 동작이 요구하는 박자와 템포를 찾아서 정확히 연주한다. 또한 동작에 맞는 악센트와 싱코페이션, 조성, 음색과 음역 등을 효과적으로 사용하여 동작에 생동감을 불어 넣어준다. 다섯째, 발레 클라스에서 반주자에 의한 수업의 중요성과 효율성은 증대되고 있는 반면 반주자의 위상은 그렇지 못한 것이 현실이다. 이러한 사실을 개선하려는 제도적 장치와 함께 무용인 및 무용계에 몸담고 있는 음악인 모두의 의지와 노력이 필요할 것이다. 마지막으로, 무용인의 좋은 음악성 및 음악에 대한 지식과 이해는 수준높은 무용 작품(혹은 무용 공연)을 위한 선행 조건이라고 할 수 있다. 이를 위해 무용 교육과 함께 음악 교육이 통합적으로 이루어져야 할 것이며, 이것이 곧 무용 예술의 실질적이고 지속적인 발전을 가져올 것이다. Dance, an art of reemergence, may result in quite different performance depending on the performers` capability. In view of this, it is necessitated to investigate the factors which interacts with the art of dance and accordingly affects the overall performance of the art. Especially, the correspondence between dance and music has been primary focus of the current study since music is an essential ingredient of the art of dance. The current investigation aims at elucidating the relationship between the dance and music, and conveying the in-depth understanding and knowledges on the subject to the students, teachers and ballet accompanists, which will lead to step-out efficiency of the ballet class. In the context of the objective aforementioned, the present study focuses on the understanding of movements in dancing (Chapter I), musical factors which corresponds with movements in dancing (Chapter II) and the application of those musical factors to the ballet movements (Chpater III). In Chapter I, the investigation has been focused on the understanding of movements in dancing such as the meaning, attributes, forms and contents of the movements in dancing, and its relationship with music. In Chapter II, musical factors for correspondence with the movements in dancing, the investigation was carried out with objectives of clarifying the meaning of correspondence and revealing the specific musical factors corresponding with the movements in dancing. In Chapter III, the application of musical factors to ballet movements, the characteristic of ballet movements and the role of accompanists in ballet class was studied. It is also discussed in further detail the correlations each musical factors bears with ballet movements. Chapter III also covers the way how each musical factors are utilized in practical applications. The primary conclusions of the present work can be summarized as the followings; First, dancing is such an art which reflects directly the musical heartstrings and themes as well as forms, meters, tempo and rhythms of music. Therefore, the level to which any dancing art is perfected would be determined primarily by the way those musical factors are arranged in correspondence with the movements of dancing or deliberate opposition. Secondly, ballet class is such an area where a concrete and practical correspondence is realized between the movements in dancing and the musical factors such as meters, tempos, rhythms and accents. Third, the role of accompanists is ever increasing in a ballet class. Thus, the accompanists are expected to perform the following tasks. · Accompanists should aid ballet dancers by commanding an accurate rhythm which corresponds to the movements in ballet dancing · Accompanists help students fostering their musicianship and musical caliber by introducing them various genre of music · Accompanists should be capable of leading a ballet class via amicable communications with ballet instructors, Fourth, accompanists should perform the accurate beats and tempo required for movements in dancing based on well-established understanding of the vocabulary and respiration of dancing movements. Furthermore, accompanists should inspire vividity into ballet movements by effective utilization of accent, tonality, tone color and register. Fifth, the accompanists couldn`t establish their position yet even though the importance and efficiency of having accompanists in ballet class is ever increasing. most critical requirement to improve the position of accompanist in dancing art would be the willingness and persistent efforts of all the musicians in the filed in addition to installation of system to ensure this. The lastly, the prerequisites of step-out dancing performance are the well-established musicianship and in-depth understanding of music from dancing masters. In order to achieve this goal, the development of interdisciplinary education system for both dancing and music are mandated. Such an education system will lead to the realization of significant and continuing growth of dancing arts.

Long-distance Assimilation in Optimality Theory

박창범 한국중앙영어영문학회 2011 영어영문학연구 Vol.53 No.4

The purpose of this study is two-fold: (i) to review various approaches to ‘long-distance assimilation’ (namely, harmony) within the framework of Optimality Theory (Prince and Smolensky 1993), and (ii) to examine which approach is the most successful to the process. In autosegmental phonology (Goldsmith 1976), the process is mainly accounted for by feature spreading, formalized by association lines between features and segments. However, the Optimality Theoretic approach requires a different perspective: it needs to involve, not rules forcing the harmonic features to spread, but constraint interaction filtering wrong candidates that are under- or over-harmonized. Various approaches have been introduced in this connection. This study classifies them into two main streams: (i) the autosegmental spreading approach, and (ii) the agree-based approach. Through the examination, this study shows that the agree-based approach, especially no-disagreement, is more successful than others to account for harmonic process. The approach without autosegmental representation does not require any specific pro- spreading constraint or representational modification for harmony, and does not induce any problems others have, such as wrong typological prediction and ‘sour-grapes property’. In conclusion, this study verifies that harmonic process can be accounted for without autosegmental spreading.