• Journal of Music and Human Behavior
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• v.21 no.1
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• pp.29-47
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• 2024

The purpose of this study was to investigate how children with cochlear implants (CI) perceive emotion in music depending on mode and tempo cues, and to compare them to NH children. Participants in this study included 13 CI children who were implanted with either unilateral or bilateral cochlear implants aged between 7 and 13 years, 36 NH children, and 20 NH adults. The musical stimuli used in this study were piano recordings in either major or minor mode, with tempos of 130 bpm and 56 bpm. A comparison of the emotion perception levels of NH children and NH adults before the experiment showed that there was no significant difference between the two groups. Meanwhile, the way they perceive different emotions from each music condition varies, in that CI children perceived all music conditions except as happy, while NH children perceived music in a major key as happy and music in a minor key as sad. It supports that CI children tend to rely primarily on tempo cues to process and identify emotional information from music, which is contrary to NH children. It is important to note that this study enhanced and specified the understanding of how CI children perceive music emotion and use specific musical elements in the process. These findings indicate baseline data on emotion perception in music in CI children.

• 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.

• Journal of The Korean Society of Grassland and Forage Science
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• v.22 no.2
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• pp.93-100
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• 2002

Comparison results of callus formation ratio from seed explants, callus sizes, regeneration ratios from callus and regeneration efficiency [calculated by following formular; callus formation ratio(%) ${\times}$ regeneration ratio(%)/100] for 27 ochardgrass (Dactylis glomerata L.)varieties imported and Hapsung 2 developed in Korea are as follows; 1. Among ochardgrass varieties showing more than 50% callus formation ratios, the descending order of callus formation ratio after bedding the seed explants for 4 weeks was 93M>Sparta> Pizza>Condor>Lidaglo>Glorus>Hapsung 2>Frode. 2. The callus sizes after bedding for 4 weeks were in the range of $\Phi$ 0.43cm~4.2cm in which there was 10 times size difference between the largest one and the smallest one but most of them were between ${\Phi}2.5cm~4cm$. 3. The regeneration ratio from callus among varieties were in the range of 0~36% and descending order of the upper 6 varieties was Plano>Akimidori>Justus>Lidacta>Currie>Hall mark. 4. The regeneration efficiency which is calculated by the ratios of regeneration from seed explant numbers was between 0 to 17.4% among which Justus showed the highest value in the 4-week treatment. 5. The correlation between callus formation ratios and the callus sizes, callus formation ratios and regeneration efficiency, and callus sizes and regeneration efficiency were r=0.5765, r=0.6365 and r=0.6246, respectively in 4-week callus and all the correlations were significant on the 1% level. 6. In 6-week callus, the descending order callus formation ratios from seed explants fur the best 6 varieties was Condor>Sparta>93 M>Justus>Potomac>Lidaglo>Frode. 7. The callus sizes formed were between ${\Phi}1.5~5.7cm$ in which Sparta, the largest one of ${\Phi}5.7cm$ was five times larger than the smallest one. The callus size of the control variety, Hapsung 2 was ${\Phi}3.8cm$, which belonged to a larger size. 8. Regeneration ratio showed a great deviation among varieties from 6-week old calli by showing from 0% to 100% in which all the calli were regenerated in Piano while no callus was regenerated in Juno. 9. The range of regeneration efficiency was between 0~28% among varieties in which the values from 6-week callus treatment were larger than those from 4-week callus treatment. Especially, the value of Potomac in 6-week was 3 times larger than that in 4-week. 10. The correlation between callus formation ratios and the callus sizes, callus formation ratios and regeneration efficiency, and callus sizes and regeneration efficiency were r=0.5369, r=0.6683 and r=0.5937. respectively in 6-week callus, and all the correlations were significant on the 1% level.

• Korean Journal of Environmental Agriculture
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• v.23 no.1
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• pp.28-33
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• 2004

This study was conducted to how the effect of lime and humic acid on cadmium availability and ie uptake by plant grown in contaminated paddy soils with heavy metal. The treatment levels of lime were 2.5 and 5.0 ton/ha and that of humic acid were 1 and 2%. The contents of 0.1N HCl extractable Cd were reduced with lime and humic acid and were negatively correlated with CEC as well as soil pH. The sequential extraction procedure was used to fractionate the heavy metals in soils into the designated from exchangeable (0.5 M $KNO_3$) water soluble ($H_2O$), organically bound (0.5 M NaOH), carbonate (0.05 M $Na_{2-}$ EDTA) and sulfide/residual (4 M $HNO_3$). In soil amended with 2.5 ton/ha lime and 1% humic acia che- mical forms of Cd at tillering stage were predominant exchangeable + water soluble extractable Cd, whereas that at harvesting stage were predominant carbonate + sulfide/residual extractable Cd. The exchangeable forms of Cd in soil with lime and humic acid were negatively correlated with soil pH during the harvesting period. Total absorbed Cd of paddy rice tended to occur in the order of root > stem > leaf > brown rice. Cd contents of brown rice with lime and humic acid treatment were 0.09 and 0.08 mg/kg, respectively. That were lower than control, 0.20 mg/kg. It could be that treatment of lime and humic acid in polluted soil by heavy metals would reduce the uptake of heavy metals by piano and be a temporary method of reclamation at the highly heavy Metal contaminated soils.