• 수산해양교육연구
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• 제19권2호
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• pp.239-255
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• 2007

This paper is to develop an integrate curriculum of rhythm education activity program and to find the possibility of applying the program into actual music education field for kindergarten children. The outlook of this study is to develope a program integrating the elements of movement, language and rhythm to apply the program to 5 year old children for 6 weeks through 12 sessions, and to observe and analyze their level of rhythm creativity and rhythm reading ability.The analysis of the field observation data and recording data showed that the children achieved natural and better understanding of rhythm. Seen from the perspective of rhythm creation activity, while the integration of the elements of movement and rhythm influenced directly to enhance the level of understanding rhythm and the integration of the elements of language, rhythm helped indirectly to have better understanding rhythm through connecting the notions of rhythm and movements. However, when only rhythm and movements were combined, children tended to misunderstand the relative durations of ♩ and ♪ just as different tempos not as 2:1 duration relativity. And ♫ was too misunderstand as ♬ due to different durations of korean words when only rhythm and language were combined. To overcome the limit of understanding, all of the three elements; rhythm and movements and language should be integrated and constant auditory experiences are recommended.

• International Journal of Advanced Culture Technology
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• 제8권4호
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• pp.58-63
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• 2020

In literature it is not only the meaning of words which matters, but also their texture matters i.e. their rhythm, colour and style are relevant and none of these natures can be reduced to an item of information. The texture is also important in film languages, especially the rhythm. In order to make the storytelling rhythm visible, a new concept of 'the Rhythm Chart Analysis Method (RCAM)' has been devised in this research and used for analysis. By analyzing original films and remakes in Korean and Chinese, one can find out that different countries have different storytelling rhythms i.e. the same story can be told in different rhythms. The central idea in Korean films is portrayed at the end, which is a typical characteristic of Korean films. And as the defining moment does not occur suddenly the audience can naturally get immersed into the story. But Chinese films communicate with the audience in a more direct way. It directly mentions characteristics of each actor in such a way that it is telling rather than showing. The information of the movie is given to the audience in the initial stages of the movie. Rhythm is as important as story and information. And through this we can find out the cultural differences from the different storytelling rhythms.

• 한국실내디자인학회논문집
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• 제24권2호
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• pp.78-87
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• 2015

This study aims to grasp the vital rhythm of the Chapel at Ronchamp by analyzing its rhythm through Henri Lefebvre's 'rhythmanalysis' in an effort to show the possibility of approaching the presence of this chapel. For the purpose of this study, Lefebvre's thought of rhythmanalysis was first contemplated, and a case study analysis was conducted on the concept and presence of the chapel in the design process. On this basis, examples of the chapel's rhythms were analyzed through Lefebvre's dialectical analysis of the triad of time(melody), space(harmony) and energy(rhythm). The results of analysis are as follows: First, the concept intended by Le Corbusier in the process of designing the Chapel at Ronchamp is expressed as the acoustic form, the modulor corresponding to the scale of the music, the light and shadow of counterpoint, and the opposite composition of musical changes. Consequently, the concept-mediated presence of this chapel is the presence of music. Second, at the Chapel at Ronchamp, a Lefebvre's rhythmanalyst experiences, or rather senses, two vital rhythms of an antithetical unity (i.e., acoustic curved rhythm and modulor-generated linear rhythm), with reference to his/her own rhythms. These rhythms are a dialectical union of spatiality of melodies temporalized through continuity, (i.e., acoustic curved form and modulor-generated linear form), and temporality of harmonies spatialized through simultaneity (i.e., light and shadow, materials and color, form of interpenetration, and stairs or windows/doors). These rhythms carry the measures generated by music-specific repetitions and differences in movements(energy). Consequently, the rhythm-mediated presence of this chapel is also the presence of music. In conclusion, the Chapel of Ronchamp indicates that an approach toward its presence can be realized through vital rhythms derived from Lefebvre's 'rhythmanalysis'. This study holds significance as an analysis of spatial rhythm and presence, employing a philosophical thought.

• 대한음성학회지:말소리
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• 제66호
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• pp.41-59
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• 2008

Knowledge in linguistic rhythm of the target language plays a major role in foreign language proficiency. This study attempts to discover valid rhythm features that can be utilized in automatic assessment of non-native English pronunciation. Eight previously proposed and two novel rhythm metrics are investigated with 360 English read speech tokens obtained from 27 Korean learners and 9 native speakers. It is found that some of the speech-rate normalized interval measures and above-word level metrics are effective enough to be further applied for automatic scoring as they are significantly correlated with speakers' proficiency levels. It is also shown that metrics need to be dynamically selected depending upon the structure of target sentences. Results from a preliminary auto-scoring experiment through a Multi Regression analysis suggest that appropriate control of unexpected input utterances is also desirable for better performance.

• 한국컴퓨터정보학회논문지
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• 제18권9호
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• pp.43-51
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• 2013

신뢰성 있는 부정맥 진단을 위해서는 리듬 구간 및 심박 단위의 종합적인 분석을 통하여 심전도 신호에 대한 분류 결과가 제시되어야 한다. 본 논문에서는 심전도 신호의 특징점에 기반하여 규칙기반 분류를 이용한 일정 구간의 리듬 분석을 수행하고 SVM기반 분류를 이용한 심박 단위의 리듬분석을 첨가하였다. 규칙기반 분류에서는 리듬 구간의 특징에 대하여 임상 자료로부터 도출된 규칙 베이스를 이용하여 리듬 유형을 분류하도록 하며, SVM기반 분류에서는 심박 단위의 특징에 대하여 미리 학습된 다중 SVM 분류기를 이용하여 단조 리듬 및 주요 비정상 심박을 분류하도록 한다. MIT-BIH 부정맥 데이터베이스를 이용한 실험을 통하여 11가지 리듬 유형에 대하여 규칙기반 방법만을 적용하였을 경우 68.52%, 규칙기반과 SVM기반의 융합 방법을 적용하였을 경우 87.04%의 분류 성능을 각각 보였다. SVM기반 방법으로 단조 리듬과 배열 리듬에 대한 오분류 개선을 통하여 분류 성능에서 19% 정도가 향상됨을 확인하였다.

• 대한핵의학회지
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• 제14권1호
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• pp.23-28
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• 1980

This is an analysis of 32 patients who received long continuous corticosteroid drug due to some diseases. Patients were collected from June 1976 to March 1980. Blood cortisol level, variation of diurnal rhythm and side effects were studied. The Result as follows: 1. Side effects were observed in 24 patients(75%) and most common complaint was obesity. 2. Diurnal rhythm analysed by Doe's method shows abnormal diurnal rhythm is 21 out of 32(66%). 3. Mean durations or therapy of abnormal diurnal rhythm and normal diurnal rhythm were $55.7{\pm}4.4$ months and $43.9{\pm}7.0$ months respectively which shows statistically significant difference. 4. Mean cortisol value of steroid treated patients were lower than normal. 5. Reverse diurnal rhythm was 4 out of 21 patients. 6. 8 A.M. cortisol value is lower than 2 times of 8 P.M. in all patients who showed abnormal diurnal rhythm except one.

• 대한한방내과학회지
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• 제31권4호
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• pp.829-836
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• 2010

Purpose : This study investigated the diurnal rhythm of cortisol in male and female adolescents. Methods : Salivary cortisol was examined in 52 normally developing subjects aged 13 to 14 years. Subjects provided saliva samples at 08:00h, 12:00h, 16:00h and 20:00h. Results : Males and females showed similar pattern of cortisol, which elevated cortisol in the morning and decreased in the evening. There were no differences of gender at 08:00h, 12;00h and 20:00h. There were also not difference between males and females using an area under the curve analysis. Conclusions : The same diurnal cortisol rhythm were found in male and female adolescents. Further research is needed to examine differences of gender in cortisol awakening response.

• 한국멀티미디어학회논문지
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• 제13권9호
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• pp.1365-1372
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• 2010

영상 정보는 시간적 질서화를 통해 시각적 리듬(Visual Rhythm)으로 느껴질 수 있다. 영상 분석의 기본 단위인 샷은 다양한 시간적 조합을 가지며 관객의 심리적 느낌에 영향을 준다. 여기에 등장인물의 시점샷은 심리적 긴장을 조절하며 스토리의 밀도를 조절한다. 이러한 변에서 샷 지속시간과 시점샷의 상관관계 분석은 시각적 리듬 연구에 도움이 될 수 있다. 분석 대상은 스릴러 장르 작품 중 아이덴티티(Identity)를 선정하였다. 이 작품은 오프닝 시퀀스 분야의 거장인 카일 쿠퍼(Kyle Cooper)의 작품이다. 이 분석 결과는 상징적이고 함축적인 영상 언어의 표현에 도움이 될 수 있다고 사료된다.

• Molecules and Cells
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• 제28권5호
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• pp.417-422
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• 2009

Mitogen activated protein kinase (MAPK) are known to get activated during various stress signals and transduce the message from the cell membrane to the nucleus for appropriate cellular reorganization. Though, a certain basal activity of MAPK is often observed in the control plants. Prolonged exposure of rice plants to lowered or elevated temperature exhibited a rhythm in the activation of MAPKs. We analyzed existence of a possible endogenous rhythm in the activity of MAPKs in rice plants. The plants growing at constant temperature entrained in 16/8 h day-night cycle showed diurnal rhythm in activity. When the activation of MAPK was tested under continuous conditions by shifting plants to continuous darkness for a period of 72 h, the periodic rhythm persisted and followed a circadian pattern. Analysis of the transcripts of group A, B and C members of MAPKs under above conditions by quantitative real time PCR revealed that the members of group C exhibit periodic rhythm. Our data indicates that the MAP kinase activity in rice follows rhythmic expression in a circadian manner.

• 한국시조학회지:시조학논총
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• 제43권
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• pp.41-66
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• 2015

시조의 가락에 대한 연구는 대체로 운율론의 차원에서 이루어져 왔으며, 이는 3장 4음보격의 정형적인 시조의 가락을 규명한다는 측면에서 그 의의를 인정받아 왔다. 그러나 가락을 운율이나 율격보다 상위 개념으로 이해한다면, 이를 온전히 이해하기 위해서는 정형시로서 시조가 갖는 가락과 함께 서정시로서 시인 각자가 갖는 개성적인 가락, 다시 말해 비정형적인 가락을 함께 살펴볼 필요가 있어 보인다. 그리고 여기에 앙리 메쇼닉(H. Meschonnic)의 프로조디(prosodie)분석 기법이 유의미한 방법론이 될 수 있다. 이에 본고는 앙리 메쇼닉의 프로조디 분석 기법을 적용하여 시조의 가락을 기존의 운율론이 아닌 새로운 차원에서 살필 수 있는 가능성을 모색한다는 측면에서 시론(試論)격에 해당된다고 볼 수 있다. 메쇼닉이 새롭게 제안한 프로조디는 언어의 자 모음적 조직과 그것의 계열체를 지시하는 말로, 이는 전통적으로 언어의 소리와 의미를 분리하여 이분법적으로 이해해 온 관점과 전적으로 대립된다. 그에 따르면 각 자 모음 조직들은 그 자체로 의미를 가지는, 이른바 소리와 의미의 복합적인 층위를 형성하는 단위이기 때문이다. 따라서 시 텍스트 안에 불규칙적이고 비주기적으로 산포되어 존재하는 프로조디를 분석하는 작업은, 어떻게 시가 음성적 의미론적으로 통합되는지를 확인하는 방법론이라 할 수 있다. 그리고 이렇게 조직화된 음운들이 어떠한 양상으로 시의 주제와 길항하면서 존재하는지를 살피는 것이 프로조디 분석의 핵심이라 할 수 있다. 이는 곧 개별적인 시가 지닌 독특한 미적 구조를 해명하는 일이자 시인의 언어 사용의 특수성을 보여준다는 측면에서 궁극적으로 시인의 문체를 규명하는 작업과 궤를 같이 한다고 볼 수 있다. 본고에서는 본격적으로 프로조디 분석의 방법론을 시조 전반에 적용하기에 앞서 예비적으로 고산(孤山) 윤선도(尹善道)의 <오우가(五友歌)> 6수를 분석 대상으로 삼아 일단 자음계열체에 한정하여 프로조디 분석 작업을 진행하였다. 그리고 그 결과로 시 텍스트에 산포되어 있는 프로조디가 시적 대상의 이미지를 형상화하거나 시의 주제를 드러내는데 있어서 소리와 의미의 복합체로서 기여하면서 기존의 율격과는 또 다른 층위에서 가락을 형성하고 있음을 확인할 수 있었다.