본 연구는 A 대학교에서 운영하는 멘토링 프로그램이 중국인 유학생 들의 대학 생활 적응에 미치는 영향을 해석적으로 분석하는 것이 목적이 다. 국가 및 기업 위상 상승과 한류 인기 등 정부의 외국인 학생 유치에 대한 문호를 개방하면서 각 대학별 외국인 유학생 수는 지속적으로 증가 하고 있는 추세이다. 그러나 언어적, 문화적, 학업적 어려움으로 인한 유 학생들 대부분은 대학 생활 적응에 많은 어려움을 겪고 있다. 이러한 문 제점에 기인하여 상당수의 대학이 비교과 프로그램을 도입하고 있기에 본 연구에서는 A 대학교 멘토링 프로그램에 참여한 중국인 유학생을 대 상으로 대학 생활 적응 척도를 활용하여 학업적, 사회적, 정서적, 대학 환경적 어려움 등 네 범주에서 유학생들의 경험을 심층 인터뷰 (In-Depth interview)를 통해 분석을 실행하였다. 연구 결과, 멘토링 프 로그램은 중국인 유학생들의 언어 능력 향상, 학업 성취도 증진, 대인관 계 개선, 문화 적응에 긍정적인 영향을 미쳤으며 특히, 멘토와의 지속적 인 상호작용을 통해 심리적 안정감을 얻을 수 있었다. 이에 본 연구는 멘토링 프로그램에 대한 실질적 영향과 정책적 제언을 제공하는데 기여 하고자 한다.

Baroque music is not only characterized but also classified by the dualism of stile antico and stile moderno. Though the definitions of dualism are different depending on theorists and composers, Monteverdi's theory and practice of prima prattica and seconda prattica are known more widely. From the view point of Monteverdi, it can be said that prima prattica is the contrapuntal style of Renaissance as a technique making music more important than the text and seconda prattica is the homophonic style making word more important than music. These two styles or techniques appeared throughout the Baroque period, but the Baroque period was opened by seconda prattica regarding stile moderno. Seconda prattica was beginning to appear in the Venetian school already at the end of Renaissance, but the embodment of it was realized by camerata of Italy at about 1600. They developed monody to depict the meaning of text clearly and made the new music forms finally come into the world, Seconda prattica became a technique creating new styles or forms that left the style of the previous period. Monteverdi did not make new music with seconda prattica, but his introduction of seconda prattica made a great contribution to the settlement and development of Baroque music. Since Monteverdi led the creative activity from the end of Renaissance to the middle of the Baroque period as we know, his works have all characteristics of prima prattica and seconda prattica. Especially, when we look over the 8 madrigal collections among his works, the first 4 collections were written with prima prattica and the last 4 colletions were written with seconda prattica. Monteverdi's seconda prattica attempts changes not to monophony but polyphony with the new styles and techniques such as homophony, chromatics, dialogue in monodic style and concitato style. Considering the above, Monteverdi could be considered a progressive with conservative inclination. Monteverdi's seconda prattica is understood also in the background of the conservative style. Seconda prattica was used in his madrigal collections(some parts of 4, 5, 6, 7, and 8). These are summerized as follows; (1) From the fourth collection, Monteverdi emphasized the meaning of text by means of monophonic texture and also employed polyphonic melisma for the expression of the text. Chromatics and dissonance do not appear frequently, but those being used are very expressive. Monteverdi showed a turning point of compositional technique for the music of the future. (2) Seconda prattica accepting unprepared dissonance began to appear from the fifth collection. Using the new technique of harmony and continue in madrigals, the new form known as contino madrigal was born. Monteverdi presented this for the first time when he put continue into the last 6 madrigals of the 5th collection. Another characteristic of seconda prattica found in the 5th collection is the continuo accompaniment, and concertato style by the combination and contrast of ensemble and chorus. (3) The 6th collection describes the meaning of the text by means of various musical devices. About half of the madrigals in the 6th collection are madrigal cycles. Lamento d'Arianna and Sestina expressing condolence to Martinelli are among the best known examples. (4) The 7th collection titled "concerto" is consisted of various madrigals for 2, 3, 4 and 6 voices including monody. The instrumental music for sinfonia, ritornello and concertato expression appears frequently. Each madrigal has a continuo melody and there are no madrigals written in the old style. (5) The 8th collection (Madrigali Guerrieri et Amorosi) is characterized by various expression as the title, "war and love" shows. For example, the expression of the first madrigal, Altri canti d' Amor is maximized by 6 voices, enlarged instrumentation and developed concertato style. Monteverdi partially employed concitato style as well as non harmonic tones more skillfully, and also triadic melodies and running repeated motives for the expression of terror, fury and warlike feelings. Monteverdi is the first composer who introduced the theory of Baroque dualism. He also explained the structure of Baroque music applying the theory of dualism to his madrigals. Monteverdi is a composer who lived in a transitional period between Renassance and Baroque, but he did not stay for only playing a bridge role to link both periods and showed a model for mature music employing dualism. Monteverdi not only introduced the theory of dualism but also transmitted sconda prattica to the various new techniques in his madrigals, making a great contribution to the development of dramatic works including opera and new music forms.

One of the most important outlets for the eighteenth century composers was the writing of music for entertainment at. social occasions. Many different terms were applied to such compositions, including such designations as: divertimento, cassation, serenade, notturno, partita, tafelmusik, and harmoniemusik. None of these terms specified a particular formal design, but indicated music written in a light and popular vein, intended for easy listening, Almost every composer of the classical period wrote music of this type, both for ensembles of winds and strings and pure wind ensembles. Mozart's works for wind ensembles were composed between 1773 and 1783. These pieces utilize a wide combination of instruments and a wide variety of forms. In summary, these works of Mozart present a clear development in the handling of wind instruments, in the invention of themes suited to the instruments, and in the adaption of formal considerations to these instruments. The fumbling seen in the works of Milano gives way to a sure mastery of wind writing in the Salzburg sextets. The composing techniques exploited in the Salzburg works were employed quickly in writing works of the Vienna period. The serenade in E^b, an arrangement of Mozart's opera. Die Entfiu¨hrung, and the serenade in c minor, all adapted to Viennese tastes. The culmination of woodwind ensembles in the classical period seems to be found in serenade, K. 361 in B^b called "Gran Partita." Mozart brought woodwind ensembles to art music status by elevating the appeal for music originally intended for entertaiment. As a result, the works of woodwind ensimbles in the classical period were placed in their own musical genre.