Earticle

한국음악에 서구적 개념의 음악창작이 도입된 것은 1940년대로 오선보를 시작으로 서양식 음계, 화성진행, 음악용어 등 서양식 음악어법 및 서양식 지휘자가 세워지는 연주형태의 모습이 나타나기 시작했다. 김기수 이후, 대학교육 내에서 국악작곡을 전공한 이성천, 백대웅, 이상규, 박일훈, 이해식, 전인평, 박범훈 등은 본격적으로 서양식 작곡방식을 그들의 창작활동에 도입하며 국악창작의 지평을 넓혀가게 되었다. 본 논문에서는 국악작곡가들 가운데 많은 작품편수와 다양한 작곡기법을 시도한 이성천, 이해 식, 전인평의 대표적 작품들을 선정하여 각 작품에서 중요한 특징이라 간주되는 작곡기법들을 중심으로 전통음악요소들이 어떻게 발전, 변용 혹은 재구성 되는지를 살펴보았다. 이성천은 잘 계획된 구조적인 악곡의 형식미를 보여준다. 소재는 전통음악의 정악과 산조뿐 아니라 자연, 일상, 종교, 문학, 사회와 관련된 표제음악을 많이 작곡하였으며 특히 가야금 곡을 많이 작곡하였다. 또한 악기를 개량하고 이를 위한 다양한 주법을 개발하여 이성적이면서도 실험 적인 작곡가의 면모를 나타내었다. 이해식은 전통음악 중 향토음악과 토속민요, 무속의례를 소재로 작곡하였고 특히, 무속의례에 서 영향 받은 언어, 춤, 음악, 연극, 감정의 표출 등이 자유로우면서도 종합적인 그의 예술적 지향 의 근거로 작용하였다. 그는 악기별 연주기법을 다양하게 사용하였는데 다중주법, 겹리듬, 하이브 리드 리듬 등을 사용하여 그만의 개성적인 음악적 억양을 구사하였다. 전인평은 만․중․삭의 개념을 기반으로 한 전통형식과 표제음악의 형식, 고악보, 범아시아의 민요, 설화, 음계 등을 그의 작품에 사용하였다. 그는 작품에서 리듬 등을 연주자가 자유롭게 변형시켜 연주할 수 있도록 하는 음악적 즉흥성을 강조하였다. 또한 술대주법을 계발 및 사용함으 로 다양한 음악적 효과를 얻었으며, 거문고 병창 등 거문고의 새로운 음색과 연주법을 확대하는데 공헌하였다. 세 작곡가는 선호한 악기, 음악적 표현에 차이가 있었으나 공통적으로 전통음악적 요소를 작품 에 활용하고 새로운 창작기법을 만들어 내었다. 이러한 국악작곡가들이 계발하여 사용하였던 ‘새 로운’ 창작기법들 중 다수가 현행 국악작곡의 일반적 작곡기법으로 자리잡았다. 본 논문이 현재의 국악작곡가들에게 새로운 소재의 활용과 개성 있는 창작의 가능성을 발견할 수 있는 계기가 되기 를 바라며 나아가 연주자들에게도 ‘작곡’과 ‘연주’ 라는 분리될 수 없는 음악활동을 도울 수 있는 작은 소통의 도구가 되었으면 한다.

In the 1940s, the Western concept of music composition was introduced to the Korean traditional music community. Subsequently, Western-style music practices, including the appearance of a conductor on the stage and the use of staff notation, Western scales, functional harmony, and Western music terminology began. In addition, gugak composers, who had been trained through university-level music education that began in 1959 with the establishment of a Korean traditional music program at Seoul National University, started to compose pieces which expressed the uniqueness of Korean society, culture and philosophy, and their understanding of Korean traditional music and instruments. The works of these composers have been continuously promoted through music contests, and introduced and performed in recitals and concerts. In this article, I analyze musical works composed by Yi Seong-cheon (1936– 2003), Yi Hae-sik (b.1943), and Jeon In-pyeong (b. 1945), all of whom produced numerous gugak pieces and applied various compositional methods in their works. I introduce each composer’s particular compositional methods and examine how Korean traditional musical elements have been developed, changed, and restructured in order to understand how each person’s Korean worldviews have been used and expressed through their creations. Yi Seong-cheon’s composition displays aesthetic beauty based on the well-structured form of his pieces. He used various materials as inspiration for his compositions including Korean traditional court and aristocratic music, and genres from folk-art music such as sanjo (the representative solo instrumental music). In addition, he composed many program music pieces in which various aspects of nature, society, religion, literature, and people’s everyday lives were reflected. He composed many gayageum (twelve-string zither) pieces, and contributed to developing a modified gayageum for which he also developed new playing techniques. Through his works, Yi Seong-cheon demonstrated his rational yet experimental mind and attitude toward gugak composition. Yi Hae-sik has applied musical elements from indigenous Korean music and shaman ritual music. His artistic foundations, in particular, have been based on the language, dance, music, theatrical aspect, and emotional expression of shaman ritual. Also, he has been interested in expressing each instrument according to its idiosyncratic sigimsae (ornaments), and has applied multiphony and hybrid rhythm in his works, creating his own specific musical style. For his music, Jeon In-pyeong has applied various materials not only from Korean traditional music, but also from pan-Asian music cultures including the traditional rhythmic structure of man-jung-sak (slow-moderate-fast), program music form, legends, old music manuscripts, folksongs, and the musical scales of Asian countries. He has emphasized the use of musical improvisation in his pieces, in which performers can freely change and play certain elements such as rhythm. He has also contributed to expanding the realm of geomungo (six-string zither) music by developing geomungo byeongchang (singing accompanied by geomungo) and new techniques for suldae (a bamboo plectrum used for geomungo) resulting in the achievement of new timbre and various musical effects. Although these three composers favor different instruments and differ in their musical expressions, they have in common the application of traditional musical elements in their works and the development of new methods for gugak composition. Many of the “new” compositional methods created by these composers have become common compositional methods for gugak composers today. I hope that this article can be of help to today’s gugak composers in finding new inspiration for their work and in creating their own characteristic styles. Furthermore, I hope this article can also help performers understand the inseparable procedures of “composition” and “performance” and lead to better communication with gugak composers.

Objectives: This study examines if the programs conducted toward the domestic alcoholics have lowered the risk factors and protective factors. Methods: To prove the effectiveness of group programs for adult alcoholism, we performed meta-analysis of the researches in academic journals in Korea and master and doctoral theses published from 1998 to 2015 in Korea. A total of 30 essays including 19 theses and 11 essays in academic journals, which adopted the pretest and posttest experimental design, were selected for the study's meta-analysis. Results: The average effect size of the program for alcoholism on the protective factor was 0.645(95% CI 0.574~0.717) and the effect size on the risk factor was 0.811(95% CI 0.695~0.927), showing that the program for alcoholism affected the protective and risk factor. The effect size on the protective factor was the biggest when Motivational Interviewing (MI) was adopted in these conditions: targeted at male, in local communities, for the purpose of treatment, a group of 11~15 people, 11~16 sessions, once a week, more than 13 weeks, and 60~80 minutes. The effect size on the risk factor was the biggest in these conditions : targeted at mixed gender, a group of less than 10 people, music as application theory. Conclusion: This study is the first meta-analysis that analyzed the difference in the effect size depending on the target characteristics, management characteristics, and application theory after examining the researches on verifying the effectiveness of the programs for alcoholism and categorizing the dependent variables as protective and risk factor.

Compositional data consist of compositions that are non-negative vectors of proportions with the unit-sum constraint. In disciplines such as petrology and archaeometry, it is fundamental to statistically analyze this type of data. Aitchison (1983) introduced a log-contrast principal component analysis that involves logratio transformed data, as a dimension-reduction technique to understand and interpret the structure of compositional data. However, the analysis is not usable when zero values are present in the data. In this paper, we introduce 4 possible methods to reduce the dimension of compositional data with zero values. Two real data sets are analyzed using the methods and the obtained results are compared.

Objectives : In other to determine the optimal extraction conditions, the various Bojungikgi-tang (BJIGT) decoctions prepared by different pressure levels and different extraction times were compared and evaluated in terms of the extract yield and the total soluble solid content. Methods : Decoctions were prepared by the pressure levels of 0 (non-pressurized) and 1 $kgf/cm^2$ (pressurized) for 60, 120 and 180 min. The extract yield and the total soluble solids content of decoctions were measured, and the amounts of the reference compounds in decoctions were investigated by the analysis using high performance liquid chromatography. Results : The extract yield and the total soluble solid content were higher in decoctions extracted by the pressurized method than those from decoction with non-pressurized method. The patterns of yield and contents showed a proportional increase to the extraction time. In analysis of the linear regression for four reference compounds such as liquiritin, nodakenin, hesperidin, and glycyrrhizin, the good linearity with the correlation coefficient more than 0.9999 was observed. The highest contents for four reference compounds were observed at 180 min of both the pressurized method and the non-pressurized method. Conclusions : This study suggests that the pressure in extraction method and the extraction time affect the compositional constituents in BJIGT decoctions. The extraction time of 180 min could be chosen in both pressurized and non-pressurized method as optimal extraction condition.

This study compared Ojeok-san (Wuji-san in Chinese) decoctions produced using different extraction methods for variable times. Decoctions were extracted in pressurized or non-pressurized conditions for 60, 120, and 180 mins. We investigated the Ojeok-san extract yield, the total soluble solid content, the hydrogen ion concentration (pH), and the reference compound content. The extract yield and the total soluble solid content were higher in decoctions produced by non-pressurized extraction; both were proportional to the extraction time. The pH tended to decrease as the extraction time was increased in decoctions produced using both methods. After 60 and 180 mins, the levels of albiflorin, paeoniflorin, nodakenin, naringin, and neohesperidin were significantly higher in decoctions extracted using the non-pressurized method compared with those extracted using the pressurized method. After 120 mins, only cinnamaldehyde was extracted in a greater amount in pressurized decoctions compared with non-pressurized decoctions. The levels of paeoniflorin, ferulic acid, nodakenin, naringin, hesperidin, neohesperidin, and glycyrrhizin increased with time in non-pressurized decoctions. This study showed that the use of pressurized and non-pressurized extraction methods for different times affected the composition of Ojeoksan (Wuji-san) decoctions.

1930년대 일제 강점기 한국의 대표 작가인 김유정과 이상은 질병을 이기기 위해서 혹은 질병과 함께 살아가기 위해서 운명적으로 소설을 기획하고 구성하다. 일제 강점기 콜레라를 비롯한 여러 질병들 중에서도 두 작가에게 가장 큰 비중을 차지하는 질병은 단연코 결핵이라고 할 수 있다. 본 논문은 결핵이라는 병이 한국 근대문학의 대표적인 작가인 김유정과 이상의 작품 속에서 어떻게 문학 창작의 내적인 요소로 등장하면서 근대화의 문화적 상징으로 나아가고 있는지에 대한 문화 사회학적고찰이다. 본고는 1937년 3월과 4월 불과 18일 차이로 세상을 달리한 만 26세 이상과 만 28세 김유정이 그들의 문학 기획과 구성 방식에서 결핵이라는 질병을 어떻게 작품 속에 내재화하고 있는지 그들의 대표 작품들을 통해 논의하다. 따라서 소설작품의 구성에 가장 기본적인 골격인 인물 구성과 공간과 시간 설정에서 그들을 죽음으로 내몬 결핵이라는 질병의 역할을 살핀 결과는 다음과 같다. 첫째, 결핵이라는질병이 그들 작품에서 상징적 작용을 하면서 인물을 창조하고 인물들의 갈등 양상을만들어냈다. 결핵을 구체화시키는 김유정의 소설 「만무방」과 「산골 나그네」 속 부부의 관계, 이상의 시 「오감도」와 소설 「봉별기」의 부부 관계를 통해 공존하고 갈등하고 결별하는 인물 구상이 내재화되었던 것이다. 둘째, 결핵이 구체화된 작품에서 결핵이라는 질병 인식이 만들어낸 공간이 설정되고 배치되었다. 시골을 배경으로 하는김유정의 「만무방」과 「산골 나그네」 속 공간은 자연 속에서 조감되는 시선을 따르며결핵이라는 질병으로 인해 주인공들이 벌이는 사기와 도둑질도 일종의 연민을 느끼게 하고 있다. 반면, 도시의 한 폐 공간을 상상하게 하는 이상의 시 「오감도」와 소설 「봉별기」 속 박제 공간은 인물들의 속고 속이는 관계를 파국으로 치닫게 하며 죽음의 충동을 인식하게 하고 있다. 셋째, 결핵이라는 질병인식은 두 작가의 시간 인식에도 크게 향을 끼치고 있었다. 김유정의 경우 봄, 여름, 가을, 겨울의 자연적 순환성을 읽어가게 하는 반면, 이상의 시간은 세시와 세기가 뒤섞이고 과거의 시간과 현재의 시간이 혼재하며 그 안에 살아가는 인간 역시 시간의 혼돈성에 매몰되고 있음을 알 수 있다. 따라서 두 작가가 바라보는 결핵이라는 질병의 차이가 두 작가의 작품을 어떻게 차별화시키면서 문학적으로 형상화되고 있는지 인물, 공간, 시간의 비교를 통해 구체적으로 살펴볼 수 있었다.

Kim Yujung and Yi Sang, two major Korean authors during the 1930’s Japanese colonial era, composed and structured their literary works as a response to the disease they were both stricken with. Whereas the former embraced illness as a natural part of his life, the latter struggled to overcome it. The disease with the most critical significance for the two authors was none other than tuberculosis, for it led to both their deaths. This article is a sociocultural study intended to examine in modern Korean literature how tuberculosis, as a disease, clashed with the modern culture of Korea. To go on further, it observes how Kim Yujung and Yi Sang－who died 18 days apart in March and April of 1937, respectively－each captured the issue of tuberculosis in their major works through compositional and structural methods. By analyzing the most basic narrative elements in the two authors’ works－namely, the characters, time, and space－I will show how tuberculosis functions as a literary sign. Furthermore, this article will explicate the way in which Kim Yujung and Yi Sang’s contrasting perceptions of diseases shape each of their works, hence differentiating one from the other.