• Molecules and Cells
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• v.46 no.12
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• pp.743-745
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• 2023

• Sim-seong Yeon-gu
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• v.26 no.2
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• pp.107-148
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• 2011

Music keeps significant influences on human mind. According to the analytical psychology, music affects the consciousness, and unconsciousness (both personal and collective). Structurally speaking, music affects the ego, shadow and self. Based on these findings, the author reviewed the life and work of Beethoven and Jung and investigated the following issues : 1) What were the developmental processes of them? 2) How did the educational processes affect their works? 3) What were the basic attitudes regarding interpersonal relationship and others? 4) What were the final psychological, social and spiritual achievements of them? Beethoven and Jung had psychologically and socially hard times during their developmental processes. However, they could achieve mature development in overcoming their difficulties. Both of them were effortful and serious book readers which could help them get wide range of perspectives on human existence and let them introspect deeply into their mind. They both could achieve the 'Concept of Gegensatzvereinigung'- that is the 'integration of two contrasting concepts into one wholeness'-. And this concept can be applied in the practical clinical settings for individuation. If psychiatrists could cease the discrimination between them and patients, they will be able to overcome subjective discrimination and prejudice against patients and accomplish objective truth. Finally they could integrate life and death into complexio oppositorum. In doing this, they have achieved eternal life.

• Journal of Korean Institute of Fire Science & Engineering
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• v.4 no.4
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• pp.71-74
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• 2008

• Korean Institute of Interior Design Journal
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• no.31
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• pp.19-28
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• 2002

This study aims to show a possibility that music can be expressed in an architectural way by attempting architectural interpretation and application of the musical piece, Beethoven Piano Sonata op.57 through analyzing it and to suggest a method for the architectural design where spirituality and internality is emphasized on the basis of music. In conclusion, it was clarified that the concept and form of the music could be expressed architecturally. That is, the concept of time and space in the musical piece is expressed in that of time; the musical form in that of the spacial structure; and the rhythm, melody, harmony, timbre and tone color of the musical piece in point, line, shape, texture and color in the architecture.

• Interdisciplinary Bio Central
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• v.5 no.4
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• pp.7.1-7.3
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• 2013

This essay describes G. Mendel's life and his law of inheritance. He was born in a poor family in 1822 in a hamlet in Czechs. At that time the Habsburg Empire dominated over the East Europe in which Vienna was the capital. Vienna had thus been the center of culture and learning, and attracted many artists and scholars such as W. Mozart (1756- 1791), L. Beethoven (1770-1827), C. Doppler (1803-1853), S. Freud (1856-1939), G. Mahler (1860-1911), G. Klimt (1862-1918) and E. Schiele (1890-1918). Beethoven came to Vienna to learn from Mozart. Klimt was influence by Schilele. When Mahler consulted Freud about his mental problem, Freud said to him "Your mental condition was not normal, but the condition made you creative. So, do not worry too much about it." Like that, there were many interactions among them, and Mendel was no exception. Though Mendel was poor, he was fortunate in his education and scientific research, because he could have excellent supporters in his family and out of it. He learned mathematics and physics at Vienna University under the guidance of C. Doppler. He was not totally alone when he discovered his law of inheritance. It may not be true either that his law was neglected and rediscovered in the year of 1900. As his one and only paper indicates, he was one of the earliest interdisciplinary scientists.

• Journal of Fashion Business
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• v.7 no.2
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• pp.55-68
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• 2003

The purpose of this research is to expand the realm of a button for a decorative purpose through embossing the effect and gravity of a button in fashion by designing the new ceramic buttons which are mainly used for decorative function in costume. In order to acquire a motif for the design, I analyzed several works of Gustav Klimt. As the result, those feature can be classified into the use of decorative lines, mosaic forms, and harmony of golden yellow and black, and it can be applied to buttons and clothes design. The sort of clay used in manufacturing the ceramic buttons was white clay to have high density and to diffuse light well, and press shaping techniques using plaster mold were employed. The baking was performed in an electronic kiln at $800^{\circ}C$ for the first time and at $1250^{\circ}C$ for the second time. Based on wearable designs in 2002/2003 F/W Trend of Interfashion Planning, I made three pieces of dress which could express the button's capability of decoration with effect. This is expressing a simplified form which shows up in details of and yellow and red pink were used to harmonize with golden yellow clothes. As an application of shapes of foliage in I transformed its size and form to be consistent with a jacket and a tube top. To accord with golden beige costume, I made a curve, showing up in Klimt's paintings, with golden color on a circle shape which was also a main motif in his paintings.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.9
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• pp.458-463
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• 2016

New areas can be created by combining separate fields of study. Today, boundaries between fields are collapsing because of rapid progress in technologies, which is also the case in music. In 1969, jazz trumpeter and respected artist Miles Davis combined jazz, rock, and classical music into the fusion genre. Classical music is known to be strict, rigorous, and rigid, and it started to take a different form after experiments with musical crossovers. This study examines the potential of more diverse musical crossovers that musicians use to evolve a new genre. Several musicians in Korea have attempted musical crossovers by following global music trends. In the album, "Love and Peace," the classical music pieces "Flight of the Bumblebee" and Beethoven's "Fate" were arranged using a popular music style.

• The Journal of the Korea Contents Association
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• v.22 no.3
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• pp.152-164
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• 2022

This thesis explores the relationship between Dominic Cooke's film (2017) and classical music. To analyze the relationship, researchers applied precedent research to the study. The relationship between the final scene of the movie King's Speech (2010) and the volume and instrumental changes of the Beethoven Symphony is analyzed by David Bashwiner, and Soohwan Ahn analyzed semantic association between the hotel conversation scene in a and Debussy's Arabesque. In addition, the study of application of Schumann's Träumerei to films was used as a methodology to find out how extra-musical information build meaningful sonority. Mozart's K.593, Haydn's Op.77 No.1, and Schubert's D.810 were used in the movie . This study analyzed the functions of Mozart, Haydn, and Schubert's music in . In order to express the relationship between the characters and their inner intentions, this film utilized the relationship between instruments, musical information and non-musical information of the pieces. Through this study, it is analyzed that the information of classical music functions and the core information of the plot of the movie combine together to improve the understanding of narrative.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.