3 research outputs found
μΌκ°λ² μμμ μ€μ¬μΌλ‘
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Όλ¬Έ (μμ¬) -- μμΈλνκ΅ λνμ : μ¬λ²λν μνκ΅μ‘κ³Ό, 2020. 8. κΆμ€λ¨.μΌκ°λ²(trigonometry)μ νκ΅ μνμμ λ€λ£¨λ λ°μλ λ κ°μ§ μμκ° μλ€. λ¨Όμ μΌκ°νμ λ³μ κΈΈμ΄λ κ°μ ν¬κΈ° λ±μ μ΄μ©νμ¬ μΈ‘λ, νν΄, μ§λ μ μ, κ³Όν, 곡ν λ±κ³Ό κ°μ΄ μ€μνκ³Ό λ€λ₯Έ νλ¬Έκ³Όμ μ°κ²°μ ν΅ν΄ μνμ μ μ©μ±μ μΈμνλλ‘ νλ€. λν λ€νμμ΄ μλ μλ‘μ΄ ννμ ν¨μ λ° μ£ΌκΈ°νμμ μ΄ν΄νλ λꡬλ‘μμ μΌκ°ν¨μκ° μ μλλ©΄μ κ³ λ± μν κ°λ
μμ μ°κ²°μ λλλ€λ μ μ΄ μλ€. κ·Έλ¬λ κΈ°μ‘΄μ μΌκ°λ²μ μ£Όμ λ‘ ν μ°κ΅¬λ μΌκ°λΉμλ§ μ΄μ μ λ§μΆμ΄ μ€μν νμ© λ°©μμ μ μνκ±°λ μΌκ°ν¨μμλ§ μ΄μ μ λ§μΆμ΄ νΈλλ², μΌκ°ν¨μμ λμ
λ±μ λ€λ£¨κ³ μλ€. λ°λΌμ μΌκ°λ²μ μ 체μ μΌλ‘ μ‘°λ§ν μ°κ΅¬λ₯Ό ν΅ν΄ νκ΅ μνμμ μΌκ°λ²μ λ°°μ°λ λ κ°μ§ μμλ₯Ό μ΄ν΄λ³΄λ μ°κ΅¬κ° νμνλ€.
ννΈ, κ΅κ³Όμλ μλλ κ΅μ‘κ³Όμ κ³Ό μ€νλ κ΅μ‘κ³Όμ μ μ°κ²°νλ 맀κ°μ²΄λ‘μ κ΅μΒ·νμ΅μ μμ΄ μ€μν μν μ νλ€. νΉν κ΅κ³Όμλ κ΅μ‘κ³Όμ μ κ΅μ λΉκ΅νλ μ°κ΅¬λ νμλ€μκ² μ 곡λ κ²μΌλ‘ μμλλ νμ΅ κΈ°νμ μ μ¬μ κ³Ό μ°¨μ΄μ μ νμ
νκ³ , μλ―Έ μλ κ³Όμ λ νμ΅κ²½λ‘κ° μ°λ¦¬λλΌμμλ μ μ© κ°λ₯νμ§μ λν λ¨μλ₯Ό μ 곡ν μ μλ€. μΌκ°λ² λ΄μ©μ κ΅μ μ μΌλ‘ λλΆλΆμ λλΌκ° κ΅μ‘κ³Όμ μ ν¬ν¨νμ¬ λ€λ£¨κ³ μμΌλ―λ‘ κ΅μ λΉκ΅λ₯Ό ν΅ν΄ μ°λ¦¬λλΌ μΌκ°λ² μ§λμ μμ¬μ μ μ€ μ μλ€. λ°λΌμ λ³Έ μ°κ΅¬λ νΈμ£Ό, νλλμ μν κ΅κ³Όμμμ μΌκ°λ² μμμ λΉκ΅νκ³ μ νλ€. λν κ΅κ³Όμμ κ΅μ‘κ³Όμ μ ν΅ν©μ μΌλ‘ λΆμνλ κ΄μ μ κ΅μ‘κ³Όμ μ λ°°κ²½μ ν΅ν΄ κ΅κ³Όμ λΆμ κ²°κ³Όλ₯Ό λ
Όμν μ μκ² νλ―λ‘ λ³Έ μ°κ΅¬μμλ Charalambous μΈ(2010)κ° μ μν κ΅κ³Όμμ μνμ λ° μμ§μ λΆμμ ν΅ν΄ μνμ λΆμμΌλ‘λ κ΅μ‘κ³Όμ μ λͺ©ν, λ΄μ© 체κ³, μ±μ·¨κΈ°μ€μ μ΄ν΄λ³Έ λ€ μμ§μ λΆμμΌλ‘ μΌκ°λ² λ΄μ©μ νμ΅ μκΈ°, νμ΅κ²½λ‘, λ¬Έμ μ λ§₯λ½μ λΆμνμλ€.
κ΅μ‘κ³Όμ μ λΆμν κ²°κ³Ό μΈ κ΅κ° λͺ¨λ μ€νκ΅ κΈ°ν μμμμ μΌκ°λ²μ λμ
νκ³ μμμΌλ©° 곡ν΅μ μΌλ‘ λ¬Έμ ν΄κ²°μ κ°μ‘°νκ³ μμλ€. μ°λ¦¬λλΌλ 9νλ
κΈ°ν μμκ³Ό 11νλ
ν΄μ μμμμ, νΈμ£Όλ 9, 10νλ
μ μΈ‘μ κ³Ό κΈ°ν μμκ³Ό 11νλ
μ μΌκ°λ²μ μμ© κ³Όλͺ©μμ, νλλλ 9νλ
μ κΈ°ν μμκ³Ό κ³ λ±νκ΅μ κΈ°ν λ° μΌκ°ν¨μ κ³Όλͺ©μμ μΌκ°λ²μ λ€λ£¨κ³ μμλ€. μΌκ°λ² νμ΅ μκΈ°λ₯Ό λΆμν κ²°κ³Ό νλλμ νΈμ£Όλ λκ°μ μΌκ°λΉλ‘, μ°λ¦¬λλΌλ μΌκ°ν¨μλ₯Ό ν΅ν΄ 곡ν΅μ μΌλ‘ μ¬μΈλ²μΉ, μ½μ¬μΈλ²μΉ, μΌκ°νμ λμ΄λ₯Ό νμ΅νκΈ° μ μ λ€λ£¨λ κ°μ νμ₯νλ κ²μ νμΈν μ μμλ€. μΈ κ΅κ° κ°μ μ£Όλ μ°¨μ΄μ μΌλ‘λ μΌκ°ν¨μμ λμ
μκΈ°μ μΌκ°λ² λ΄μ©μ λ€λ£¨λ νλ
μ μ°μμ±μ΄ μμλ€. μ°λ¦¬λλΌλ μ¬μΈλ²μΉ, μ½μ¬μΈλ²μΉ, μΌκ°νμ λμ΄λ₯Ό νμ΅νκΈ° μ μ νΈλλ²κ³Ό μΌκ°ν¨μλ₯Ό λμ
ν κ²μ λΉν΄ νΈμ£Όμ νλλλ κ°μ₯ λμ€μ νΈλλ²κ³Ό μΌκ°ν¨μλ₯Ό λμ
νλ€. λ λ²μ§Έλ‘ μΌκ°λΉμ μ μ λ°©λ²μ λν κ΅κ³Όμμ νμ΅ κ²½λ‘μμ μΈ κ΅κ° λͺ¨λ μΌκ°ν λ°©λ²μμ λ¨μμ λ°©λ²μ κ±°μΉ λ€ μΌκ°ν¨μλ‘ λ°μ νλ€λ 곡ν΅μ μ΄ μμλ€. λ€λ§ μ°λ¦¬λλΌλ μ€νκ΅ κ΅κ³Όμμμ μ¬λΆμμ μ΄μ©ν μ€λͺ
μ΄ λνλ¬μΌλ©° νμ΅κ²½λ‘μμ μ¬λΆμμμμ μΌκ°λΉμ κ°μ νμ΅ν λ€ μ¬λΆμμ νμ₯νκ±°λ μ°Έμ‘°μΌκ°ν λ±μ ν΅ν΄ κ°μ νμ₯νλ κ³Όμ μ κ±°μΉμ§ μκ³ λ°λ‘ μΌλ°κ°μ νμ΅ν λ€ μΌκ°ν¨μλ₯Ό νμ΅νλ€. κ·Έλ¬λ μ΄λ κΈ°μ‘΄μ μΌκ°λ²μ λν ν΅ν©μ μ΄ν΄λ₯Ό μν΄ μ μνλ λ΄μ© 체κ³λ μ΄ν΄ λͺ¨λΈκ³Όλ λ€λ₯Έ μμμ΄λ―λ‘ μ°λ¦¬λλΌ νμλ€μ΄ μΌκ°λ² λ΄μ©μ ν΅ν©μ μΌλ‘ μ΄ν΄νλ λ° μ΄λ €μμ κ²ͺμ κ²μΌλ‘ μμλλ€. μΈ λ²μ§Έλ‘ λ¬Έμ μ λ§₯λ½μ λΆμν κ²°κ³Ό μΈ κ΅κ° λͺ¨λ λ§₯λ½ μλ λ¬Έμ μ λΉμ¨μ΄ κ°μ₯ λμλ€. μμ₯ λ§₯λ½ λ¬Έμ λ μ°λ¦¬λλΌκ° νΈμ£Όλ νλλμ λΉν΄ 2λ°° κ°λ λμ λΉμ¨μ 보μλ€. μ΄λ λλΆλΆμ λ¬Έμ μμ μ΄λ―Έ μνμ μ²λ¦¬κ° λ λνμ ν¨κ» μ μνκΈ° λλ¬Έμ΄μλ€. κ΄λ ¨μκ³ νμμ μΈ λ§₯λ½ λ¬Έμ μ λΉμ¨μ νΈμ£Ό, νλλ, νκ΅ μμΌλ‘ λνλ¬μΌλ©° μ€μ μ λ§₯λ½ λ¬Έμ λ νΈμ£Όλ νλλμ λΉν΄ μ°λ¦¬λλΌκ° μ°¨μ§νλ λΉμ¨μ΄ λ§€μ° μ μλ€.
μ΄λ¬ν μ°κ΅¬ κ²°κ³Όλ₯Ό λ°νμΌλ‘ λ€μκ³Ό κ°μ μμ¬μ μ΄ λμΆλμλ€.
첫째, μ°λ¦¬λλΌμ μΌκ°λ² νμ΅κ²½λ‘μμ μλ΅λμλ λ¨μμ λ°©λ²μ νμ©ν νμ΅μ ν΅ν΄ μΌκ°λ²μ ν΅ν©μ μΌλ‘ μ΄ν΄νλ λ° λμμ΄ λλ λ΄μ©μ κ΅κ³Όμμ μ μνλ κ²μ κ³ λ €ν μ μλ€. λμ§Έ, νμ© λ¬Έμ μμ μ€μν λ§₯λ½μ κ°μ‘°νμ¬ νμ€κ³Όμ μ°κ²°μ±μ μΈμν μ μλ λ¬Έμ λ₯Ό μ μνκ³ κ΅κ³Όμλ κ΅μ‘κ³Όμ μμ 곡νμ λꡬλ₯Ό μ κ·Ήμ μΌλ‘ νμ©νμ¬ μ΄λ₯Ό λλλ‘ νλ λ°©μμ μ μν νμκ° μλ€. μ
μ§Έ, μΌκ°λ²μ λ€λ£¨κ³ μλ κ΅μ‘κ³Όμ μ λ°©μ λ° μμμ λν΄ μ¬κ³ ν΄ λ³Ό νμκ° μλ€.There are two important meanings for dealing with trigonometry in school mathematics. First, students recognize the usefulness of mathematics by linking it with real world problems and other disciplines such as surveying, navigation, cartography, science, engineering, etc. by using the length or angle of the sides of a triangle. In addition, the trigonometric function as a tool to understand new types of functions and periodic phenomena, rather than polynomials, is suggested to help connect to higher mathematics concepts. However, the existing research on the subject of trigonometry focuses only on trigonometric ratios, suggests practical use methods, or focuses only on trigonometric functions and deals with radian and circular measure. Therefore, it is necessary to examine the two meanings of learning trigonometry in school mathematics through a study that has a comprehensive view.
Textbooks play an important role in teaching and learning as intermediary between the intended curriculum and the implemented curriculum. In particular, research that compares textbooks and curriculums internationally can identify similarities and differences in opportunities to learn trigonometry offered to students, and give inform as to whether meaningful tasks or learning paths are applicable in Korea as well. Since the content of trigonometry is included in the curriculum in most countries internationally, it can give implications to trigonometry teaching and learning in Korea through international comparison. Therefore, this study attempted to compare trigonometry in textbooks in Korea, Australia and Finland. In addition, the integrated analysis of textbooks and curricula can discuss the results of textbook analysis through curriculum background in textbook analysis, so in this study, horizontal and vertical analysis of textbooks presented by Charalambous et al.(2010) examined the goals, content systems, and achievement criteria of the curriculum through horizontal analysis and analyzed learning path, and context of problems through vertical analysis.
According to the analysis of the curriculum, all three countries were introducing trigonometry in the geometry of middle schools, and common emphasis was on solving problems. Korea was dealing with trigonometry in the 9th grade geometrical area and 11th grade analysis area, Australia in the 9th and 10th grade measurement and geometry areas and the 11th grade the application of trigonometry, Finland in the 9th grade geometry area and high school geometry and trigonometric functions. As a result of analyzing the learning process, it was confirmed that Finland and Australia have an trigonometric ratios of obtuse angle, and Korea uses a trigonometric function to expand the angles covered before learning the sine rule, cosine rule, and area of the triangle. The main differences between the three countries was the time of introduction for trigonometric functions and the continuity of grades dealing with trigonometry. Australia and Finland introduced the circular measure and trigonometric function last, while Korea introduced the trigonometric function before learning the sine law, the cosine law, and the area of the triangle. Second, in the learning path of textbooks on how to define a trigonometric ratio, all three countries had a commonality that they experienced triangular methods and went through the unit circle method and developed into trigonometric functions. In Korea, textbooks in middle school were presented using quadrants. In the learning path of Korean textbooks, after learning the value of the trigonometric ratios in the quadrant, the general angle and the trigonometric function were introduced immediately without going through the process of expanding the quadrant or expanding the angle through the reference triangle. However, this is different from the content framework or understanding model proposed for the integrated understanding of trigonometry, so it is expected that Korean students will have difficulty in understanding the trigonometry. Third, as a result of analyzing the context of the problem, three countries had the highest proportion of problems without context. The problem of camouflage context in Korea was twice as high as that of Australia and Finland. This was because most Korean textbook problems presented figures that were already mathematized. The proportion of relevant and essential contextual problems was in the order of Australia, Finland and Korea, and the realistic context problem accounted for a very small proportion of Korea compared to Australia and Finland.
Based on these findings, the following implications were derived.
First, it can be considered to present in the textbook contents that help to understand the trigonometry in an integrated way through learning unit circle method, which was omitted from the trigonometry learning path in Korea. Second, it is necessary to present a problem that can recognize the connection with the reality by emphasizing the real-life context in the application problem, and suggest a method to help this by actively using technological devices in textbooks or curriculum. Third, it is necessary to reconsider the ways and areas of the curriculum that deal with trigonometry.I. μλ‘ 1
1. μ°κ΅¬μ νμμ± 1
2. μ°κ΅¬μ λͺ©μ λ° μ°κ΅¬ μ§λ¬Έ 4
II. λ¬Έν κ²ν 6
1. κ΅κ³Όμ λ° κ΅μ‘κ³Όμ λΉκ΅ μ°κ΅¬ 6
2. μΌκ°λ² 8
2.1. μΌκ°λ²μ μνμ μ κ·Ό 8
2.2. μΌκ°λ² νμ΅μ λν μ°κ΅¬ 10
3. λ¬Έμ μ λ§₯λ½ 17
III. μ°κ΅¬λ°©λ² 20
1. μ°κ΅¬ λμ 20
2. λΆμ κΈ°μ€ 24
3. λΆμ μ μ°¨ 29
IV. κ΅μ‘κ³Όμ λΆμ 31
1. νκ΅, νΈμ£Ό, νλλμ κ΅μ‘κ³Όμ λͺ©ν 31
2. νκ΅, νΈμ£Ό, νλλμ μνκ³Ό λ΄μ© μ²΄κ³ 33
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V. μ°κ΅¬ κ²°κ³Ό 39?
1. μΌκ°λ² νμ΅ μκΈ° 39
2. μΌκ°λΉ μ μ λ°©λ² 43
3. μΌκ°λ² λ¬Έμ μ λ§₯λ½ λΆμ 59
VI. κ²°λ‘ 66
1. μμ½ 66
2. λ
Όμ λ° μμ¬μ 68
3. μ°κ΅¬μ νκ³ λ° μ μΈ 72
μ°Έκ³ λ¬Έν 74
Abstract 81Maste
The Musical Analysis and Study of Vocal Technique of Samuel Barbers Song Cycle βͺHermit Songs Op. 29β«
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Όλ¬Έ(μμ¬) -- μμΈλνκ΅λνμ : μμ
λν μμ
κ³Ό, 2023. 2. λ°λ―Έμ.This Study is a researcher's master's degree thesis, an analysis of the song cycle βͺHermit Songs Op.29β«, a vocal work of Samuel Barber (1910-1981), a composer representing the United States in the 20th century. βͺHermit Songs Op.29β« is Samuel Barber's representative vocal work that harmonizes the modern techniques of the 20th century on top of the traditional 19th century expression of lyrical music, and occupies an important position in the history of contemporary American art songs. The work included modern English translations of unidentified poems written in the margins by Irish monks and scholars in the 8th and 13th centuries, especially by applying 20th century techniques such as semi-tone progression, dissonance, and ambiguous composition on top of traditional 19th century Romantic techniques such as mode, counterpoint, fuga, and canon techniques. Particularly unique compared to other vocal works, the lyrics of the work are poems of unknown authors that deviate from the formal framework of general literary works, and are free in terms of form. Among these poems, the composer adopted the key-word to create musical themes and motivations, and accordingly, he composed and developed music by combining poetry, songs, and accompaniments. Prior to the analysis of Samuel Barber's βͺHermit Songs Op.29β«, this paper focused on the analysis of the interpretation of the poem, its hidden meaning, and the musical theme of expressing the central keyword, starting with the investigation of the composer's life and tendency by period.λ³Έ λ
Όλ¬Έμ μ°κ΅¬μμ μμ¬ κ³Όμ νμ λ
Όλ¬ΈμΌλ‘μ, 20μΈκΈ° λ―Έκ΅μ λννλ μκ³‘κ° μ¬λ¬΄μ λ°λ²(Samuel Barber, 1910-1981)μ μ±μ
μνμΈ μ°κ°κ³‘ βͺHermit Songs Op.29β«μ λν λΆμ μ°κ΅¬μ΄λ€. βͺHermit Songs Op.29β«λ μμ μ μΈ μμ
μ ννμ λ΄μ 19μΈκΈ°μ μ ν΅ κΈ°λ² μμ, 20μΈκΈ°μ νλ κΈ°λ²μ΄ μ‘°νλ₯Ό μ΄λ£¨λ μ¬λ¬΄μ λ°λ²μ λνμ μΈ μ±μ
μνμΌλ‘μ, νλ λ―Έκ΅ μμ κ°κ³‘μ¬μ μ€μν μμΉλ₯Ό μ°¨μ§νλ€. μ΄ μνμ 8-13μΈκΈ°μ μμΌλλ μλμΉκ³Ό νμλ€μ΄ νμ¬λ³Έμ μ μνλ κ³Όμ μμ μ¬λ°±μ μ¨λμ μμ λ―Έμμ μλ₯Ό νλ μμ΄λ‘ λ²μν κ°μ¬μ 곑μ λΆμμΌλ©°, νΉν μ λ², λμλ², νΈκ°, μΊλ
Ό κΈ°λ²κ³Ό κ°μ 19μΈκΈ° λλ§μ£Όμ μ ν΅μ μΈ κΈ°λ² μμ λ°μκ³ μ§ν, λΆννμ, λͺ¨νΈν μ‘°μ±κ³Ό κ°μ 20μΈκΈ°μ κΈ°λ²λ€μ μ μ©ν¨μΌλ‘μ¨, μ곑μμ λ
μ°½μ μΈ μμ
μ€νμΌμ λνλ΄μλ€. νΉλ³ν λ€λ₯Έ μ±μ
μνμ λΉν΄ λ
νΉν μ μ, μνμ κ°μ¬κ° μΌλ°μ μΈ λ¬Έν μνμ νμμ μΈ νμμ λ²μ΄λ μμ λ―Έμμ μλ‘, νμ λ©΄μμ λ§€μ° μμ λ‘λ€. μ곑μλ μ΄λ¬ν μμ΄λ€ μ€μμ, μ€μ¬μ μΈ μ£Όμ μ΄(Key-word)λ₯Ό μ±ννμ¬ μμ
μ μΈ μ£Όμ μ λκΈ°λ₯Ό λ§λ€κ³ , μ΄λ₯Ό λ°λΌ μμ λ
Έλ, λ°μ£Ό λ±μ μ‘°ν©νμ¬, μμ
μ ꡬμ±νκ³ μ κ°νμλ€. λ³Έ λ
Όλ¬Έμ μ¬λ¬΄μ λ°λ²μ βͺHermit Songs Op.29β« μν λΆμμ μμ, μ곑κ°μ μμ μ μκΈ°λ³ μ±ν₯ λ° μ±μ
μνμ μμ
μ νΉμ§κ³Ό μ곑 λ°°κ²½μ λν μ‘°μ¬μ°κ΅¬λ‘ μμνμ¬, μνμ λνλ μμ΄μ ν΄μκ³Ό κ·Έ μ¨μ μλ―Έ, κ·Έλ¦¬κ³ μ€μ¬ ν€μλλ₯Ό νννλ μμ
μ μΈ μ£Όμ κ° μ΄λ»κ² ν¨κ³Όμ μΌλ‘ νμ±λκ³ μ κ°λμ΄ λνλ¬λμ§μ λν λΆμμ μ€μ μ λμλ€.I. μλ‘ 1
1. μ°κ΅¬μ λͺ©μ λ° μμ 1
2. μ°κ΅¬ λ²μμ λ°©λ² 3
II. λ³Έλ‘ 5
1. μ곑κ°μ μμ μ μν μΈκ³ 5
1) μ¬λ¬΄μ λ°λ²(Samuel Barber)μ μμ 5
2) μν νλκ³Ό μκΈ°λ³ νΉμ§ 7
3) μ±μ
μνκ³Ό μμ
μ νΉμ§ 11
2. Hermit Songs Op.29μ λΆμ λ° μ±μ
μ μ μ© 15
1) μνμ λ°°κ²½κ³Ό νΉμ§ 15
2) κ°μ¬ ν΄μ λ° μ
곑 λΆμ 23
(1) At saint Patrick's Purgatory(μ± ν¨νΈλ¦μ μ°μ₯μμ) 23
(2) Church Bell at Night(λ°€μ μΈλ¦¬λ κ΅ν μ’
μ리) 33
(3) St. Ita's Vision(μ± μ΄νμ νμ) 38
(4) The Heavenly Banquet(μ²κ΅μ λ§μ°¬) 56
(5) The Crucifixion(μμκ°μ λͺ» λ°νμ¬) 65
(6) Sea-Snatch(λ°λ€ μμ ννμ°) 74
(7) Promiscuity(νΌμ) 83
(8) The Monk and His Cat(μλμΉκ³Ό κ³ μμ΄) 89
(9) The Praises of God(νλλμ μ°¬μν¨) 100
(10) The Desire for hermitage(μλμ ν₯ν κ°λ§) 110
III. κ²°λ‘ 125
μ°Έκ³ λ¬Έν 128
Abstract 131μ