• Phonetics and Speech Sciences
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• v.15 no.3
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• pp.27-35
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• 2023

This study aimed to investigate the effect of Chinese on the production of Korean rhythm. Korean and Chinese are typologically classified into different rhythmic categories; because of this, the phonological properties of Korean and Chinese are similar and different at the same time. As a result, Chinese can exert both positive and negative influences on the realization of Korean rhythm. To investigate the influence of the rhythm of the native language of L2 learners on their target language, we conducted an acoustic analysis using acoustic metrics like of the speech of 5 Korean native speakers and 10 advanced Chinese Korean learners. The analyzed material is a short paragraph of five sentences containing a variety of syllable structures. The results showed that KS and CS rhythms are similar in %V, VarcoV, and nPVI_S. However, CS, unlike KS, showed characteristics closer to those of a stress-timed language in the values of %V and VarcoV. There was also a significant difference in nPVI_V values. These results demonstrate a negative influence of the native language in the realization of Korean rhythm. This can be attributed to the fact that all vowels in Chinese sentence are not pronounced with the same emphasis due to neutral tone. In this sense, this study allowed us to observe influences of L1 on L2 production of rhythm.

• Journal of Fashion Business
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• v.27 no.6
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• pp.47-65
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• 2023

The purpose of this study is to derive the future-oriented characteristics Sonia Delaunay presented at the time based on the identity and modernity shown in her works and diverse activity. The scope of study spans from 1907 to the start of World War II and includes both applied and fine arts, with a focus on textiles and fashion. The research method is a literary study that includes old documents, exhibition booklets, and explanations from museum curators. The visual materials are actual works observed at exhibitions and digital images of various exhibitions. As a result of the research, she was a practitioner who expressed her identity in marriage, artwork, textiles, and fashion. In order to embody her design and express modernity, she showed geometric and modern motifs and she incorporated a sense of bright color and modernized light into her work by following the principle of simultaneous contrast in color. Additionally, she applied Hungarian embroidery techniques to simple materials and created geometric abstraction with her simultaneous colors, which contributed to both originality and the mass production of textile design. The future-oriented characteristics she presented are the dynamism of modern rhythm, the expansion of convergence and collaboration, the innovation of new production and exhibition, the media of consumer society, and the femininity of modern life. She recognized the mass consumer society and mass production of the early 20th century and actively utilized various media and genres to evoke a dynamic sense necessary for modern life and presented a design to be seen as a modern woman.

• Journal of The Korean Digital Architecture Interior Association
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• v.10 no.1
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• pp.15-22
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• 2010

As for structural system, which constitutes his construction, there are column inside dimension and span which constitutes plane, and as for constructions for section, there are C.H and slab, and as for constructive factors for envelope, there are window and closing panel of outer wall, and as for opening, there are punching window and wave window. With these constructive parts and opening of envelope, his construction composes volume and mass. The relation of structure and modulor which are shown in his later construction can be divided in two cases that modulor is directly and indirectly adapted for rate and measure calculation of the constructive body. As for indirectly adapted case, we can find it form most of his later construction, it is living place in which human beings life is, and it is adapted mainly for small space. In his construction, he tried to tell human scale and sense of musical rhythm through modulor. In other words, he played sense of space and musical scale by adapting regular and repetitive modulor of opening, and in small space for daily life, he made the size of space into the space which human can perceive. And, if we interpret mudulor in modern meaning, it is an establishment of radius of human act. And, we can make organic and harmonic design of space if we use modulor as origin of human centered measurement calculation, and if we adapt space after dividing by use.

• The Research Journal of the Costume Culture
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• v.13 no.1
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• pp.87-101
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• 2005

Jazz derived from the blacks' work songs and made the frame of Jazz reaching blues and finally arrived at the recent time propagating itself as not only the blacks' music but all human being's music. This study has a purpose to suggest the Jazz image to the fashion design by examining the historical trace of Jazz which is one of popular music received by hearing sense. As for the result of the Jazz's effects by age, rhythmical beauty stressing dresses were in fashion by dance enjoying women in 1920's and dresses giving a mature atmosphere set the fashion in 1930's. in the beginning of 1990's, newly emerging Jazz was reflected to the popular culture along with the historical mode's fashion in the general society. The design's decided with two themes of Jazz Classic and Neo Fusion to modernly and naturally express the pursuit of strong color contrast which associated fast rhythm and lax image such as the counter melody of smooth Jazz. In that result, Jazz image with auditory feelings could suggest the various design motive and new idea to fashion design.

• (The) Research of the performance art and culture
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• no.39
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• pp.669-700
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• 2019

Farmers' band music is a religious ritual in Korea. It is a solemn ritual to exhibit the auspicious holiness of the people to the God. Most of the ritual is accomplished by music. The music of the farmers 'band, in this sense, has its meaning as the expression of holiness by sound. In this paper, I will explore the principle to make various rhythms of farmers' band music, especially focusing on the chaegut (lit. "stroke music"). It is very symbolic because the name of the music shows the strokes of the gong, called jing, in a rhythmic phrase. In this sense, the chaegut is man-made music based on the specific principles in accordance with the strokes of the gong. Among many chaegut rhythms, samchae (lit. "three strokes") to chilchae (lit. "seven strokes") are the main rhythms. They were made after the principle of 'forward with drums, backward with gongs' in Five way procession. It the basic principle of military procession from the early Joseon Dynasty. The procession follows with the sound of the drums and gongs. There was always a principle of "five strokes" to control the procession. The "five strokes" became the basis of the making of chaegut rhythms. The rhythms of the samchae to chilchae are based on the rhythm of samchae. The samchae has three gong strokes in a cycle, which exhibits the chaotic moment with the rhythmic noise. The name of the rhythm exhibits the correspondence of the signifiant, that is the name "three strokes" and the signifié, that is the real three strokes of gongs in music. Other four rhythms has made up from the samchae with half cycles are added in accordance with the strokes of the gongs. In this way, the chaegut shows the principle of "five strokes" in the military procession. The rhythm of ochae jilgut is a mixture of ochae (lit. "five strokes") and jilgut (lit. "road music") which is usually performed on the road to a mountain shrine. The musical structure of ochae jilgut corresponds to the colotomic structure of Southeast Asian music and the 15th-century music of old musical scores. The rhythm of gilgunak chilchae is a mixture of gilgunak (lit. "road military music") and chilchae (lit. "seven strokes"). The rhythmic structure is similar to other regional music, sijo ("short song") of the literati music and norae garak (lit. "some melody") of the shaman music. In sum, the chaegut is very artistic music made from the military procession of the Joseon Dynasty. The name of the rhythm corresponds with the strokes of the gong in a cycle. In this way, the chaegut shows the principle of music-making to exhibit the ritual characteristics of the Korean people.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.111-125
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• 2006

This study measured and analyzed musical sense objectively, and visualized it to express visual effects as if watching music with the eye. For the visualization of music, we examined the concept of synesthesia and the correlation between hearing and seeing, and reviewed theoretical grounds and a number of cases necessary in reproducing musical sense visually based on synesthetic expression. Furthermore, we studied the visual elements and associated colors of rhythm to prove that visual conception of music through various approaches enable a transitional approach to aesthetic exploration and interpretation. The conclusions drawn from this research are as follows. First, classic music selected for visualization had musical characteristics highly correlated with dress design. Second, basic formative elements suggested as materials of visualization in this study were suitable in their form for expressing the rhythmic sense of music and, because they started from the most basic form, they were effective in extracting design elements. Third, when the result of the questionnaire survey, which was focused on the visualization of the rhythmic sense of the five pieces of classic music, was analyzed from the aspect of sensibility ergonomics, design elements of each piece of music were obtained in an objective and scientific way. Fourth, it was confirmed that common concepts could be derived from intangible elements such as forms and sounds observed in the rhythmic sense of music obtained from the result of the questionnaire survey. Fifth, works were made based on the results of this study and, according to the result, musical images can express sense through dress design and obtain visual effects as if watching music with the eye. Dress desist through the visualization of music in this study was an attempt to suggest that the language of music can be expressed in dress design, a visual formative language, based on synesthetic expression. Through this attempt, we confirmed the infinity of music as motives of dress design and suggested a method of aesthetic expression demanded in contemporary society that is pursuing aesthetic values.

• Sleep Medicine and Psychophysiology
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• v.10 no.1
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• pp.26-31
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• 2003

Restless leg syndrome (RLS) and periodic limb movement of sleep (PLMS), often concurrent, come under diagnosed disorders of sleep and treatable condition. RLS symptoms are evoked in the limbs at rest and increase in the evening and during the night. PLMS is characterized by periodic episodes of repetitive limb movements caused by muscle contractions during sleep. RLS is often associated with a sleep complaint and PLMS. Both RLS and PLMS represent one of the most commonly encountered sleep disorders in a primary care setting. The circadian rhythm and the presence of PLMS cause sleep disturbances in RLS. The emphasis on pathophysiology includes consideration of central nervous system localization, neurotransmitter, and the role of iron metabolism. Dopaminergic agents are considered the treatment of choice for RLS and PLMS. With proper diagnosis and effective treatment patients' ability to fall asleep and maintain sleep improves, and their sense of well being increases.

• Korean Institute of Interior Design Journal
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• no.19
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• pp.98-104
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• 1999

The literal Meaning of Art Nouveau is 'New Art'. It means that Art Nouveau was conceived momentous sense of transition in the close of 19C and found the way to overcome that situatiov. So, This Study aims to discover the Meaning and Characteristic of Art Nouveau through it's Linear form. Through this study, linear form of Art Nouveau served not merely to decorate building, but to liberate space. With linear forms, Art Nouveau artists synthesize all exterior and interior elements - from doors and windows to carpets and furnishings - by one's emotional rhythm and occasionally change the feel of space that adorned with another style. First, of all, linear form is a method for 'Art for Art sake', and the possibility of linear form does not disappear.

• 제어로봇시스템학회:학술대회논문집
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• 2005.06a
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• pp.963-968
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• 2005

For worm robots applied to pipe inspection and colonoscopy, earthworm-like robots that have a locomotion pattern in backward wave or green caterpillar-like robots that have a locomotion pattern in forward wave have been studied widely. Note however that a method using a single and fixed locomotion pattern is not desirable in the sense of mobility cost, if there are various changes in pipe diameter. In this paper, locomotion patterns are considered for a semi-looper-like robot, which adopts a locomotion pattern of green caterpillars as the basic motion and sometimes can realize a locomotion pattern of looper, whose motion approximately consists of two rhythms or relatively low rhythm.

• Speech Sciences
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• v.12 no.4
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• pp.167-180
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• 2005

The present study examines the phonetic realizations of the unstressed weak vowel /e/ in English words produced by native and Korean ESL speakers. Traditionally, the stressed elements in utterance are considered to be prominent. In this sense, the unstressed weak vowel /e/ is predicted to be shorter in length, lower in pitch and intensity than the stressed vowels. The experiment shows that native English speakers correlate the unstressed weak vowel /e/ with both shorter duration and lower pitch; Korean ESL speakers correlate it with lower pitch only. We cannot find any significant statistical difference in intensity between /e/ and the stressed vowels in both cases. This study suggests it is important to acquire and produce the correct prosodic correlates of the unstressed weak vowel /e/ for Korean ESL speakers to command more natural English intonation, since /e/ is the most common vowel in English speech and consists of the English foot rhythm along with stressed vowels.