Red beet roots (Beta vulgaris L.)는 천연색소로 붉은 색 계열의 betacyanins은 75-95%의 betanine와 이성질체인 isobetanine 15-45%으로 존재한다. 본 연구는 비트레드를 사용한 식품에 대해 HPLC-DAD를 이용하여 지표성분인 betanine 및 isobetanine에 대해 분석법을 확립하였으며, 유효성 검증을 위해 직선성, 검출한계, 정량한계, 정확성, 정밀성, 측정불확도를 측정하였다. 캔디류, 빙과류, 코코아 가공품의 matrix에 적용하여 matrix matched calibration법 을 사용하였으며 R2이 0.9998 이상으로 높은 직선성을 보였다. 검출한계와 정량한계는 각각 0.16-0.32 mg/L, 0.48- 0.97 mg/L으로 확인되었다. 분석법의 정확성 및 정밀성을 검증하기 위해 intra-day 및 inter-day 반복 실험 결과, 회수율은 96.0-103.1 %, 100.0-102.2 %이였으며, RSD는 0.5-3.3 %, 0.9-3.8 %로 산출되었다. 측정불확도는 매트릭스 및 측정 농도에 따라 1.71-12.43%로 평가되었다. 또한, 확립된 분석법의 적용성 검토를 위해서 비트레드 색소를 사용한 가공식품 26종을 분석한 결과, betanine과 isobetanine 을 정량 할 수 있었다 (8.4-3,823.4 mg/kg).

This paper shows how do pitch and rhythmic structures interacts in the Webern atonal music to produce a coherent and unified work. This is an interesting and difficult problem to approach. Because of there is no Webern's characteristic routine at the surface level of his music. However it will be shown that beneath the complex surface exists a considerable degree of regularity. This paper shows the proportional graph. Its purpose is to present rhythmic structure in the clearest possible way, detached from ordinary notation with its bias toward traditional interpretation. From the proportional graph and A-R partition, we see the correspondences and relations of various types demonstrated in the atonal composition of Webern. Using the composite segmentation, the pitch class set structure of the atonal work is related to the fundamental rhythmic structures of the work. The composite segmentation represents the harmonic components of the music at the absolute surface level and the segmentation which may take into account than the single voice, which does not encompass the total texture from top th bottom for any segment, and which may involve overlappings. The pitch-class set inclusion relations match the pattern of proportional relations set out in the basic rhythmic structure pattern. The proportion is quite explicitly reflected by the partition. The relations among pitch-class sets in terms of intersections, unions, complements have structural analogues in the relations among rhythmic formations in terms of combinations and partitions of duration. Proportional graph and A-R partition are the tool of atonal music and rhythm structure analysis. we can see the relation between pitch and rhythm at the surface level. However we can look forward to see the further study of pitch and rhythm relation at the middle ground or background level.