This study suggests a practical analytic method, by which one can analyze tonal music. The essay begins by testifying the validity of Rameauian harmonic theory and of traditional harmonic analysis by Roman numerals. The analytical limit which the traditional methodology of the harmonic analysis poses is supplemented and combined with the theoretical strengths that Schenkerian theory provides. In contrast to the conventional harmonic analysis by Roman numerals, which focuses exclusively on local levels of the chord to chord, what I call the macro-analysis, in which the individual labels of each chord are jointed through brackets under the chord symbols, incorporates a deep understanding of the harmonic functions of each chord and of the musical contexts and the harmonic syntax that the chords create. The examination of the tonal harmony from a Schenkerian point of view serves as a basis for the application of the eclectic methodology, the dialectical result of the Rameauian and Schenkerian theories, to tonal music. Excerpts from Schubert's Lied, Nact and Tra¨ume and Chopin's Nocturne in A^(b) major, Op. 32, no. 2 are analyzed both by the macro-analytic technique and by the Schenkerian analytic method. The paper reveals that the two analytic methods lead to quite similar analytic results.

What is 'Art Theory'? In the western sense, the term poses a cague ambiguity, and in the eastern, it is rather an abstract and metaphysical concept. As for etymology, theory is dericed from theoria and theoria from theoros. It refers to and act of viewing or seeing, of xourse not in a metaphysical sense. Plaro understood it as 'eida'. During the time of Plotinus, theoria encompassed gazing at every possible reality, and this gazing, that is theoria, is closely related to reality as aunit that theoriacan perceive. However, we trend to distinguish, as other scientists of dualism have done, studio art from theory since a pre-modern approach to art has been particularly tuned ro studio practice, set apart from theory. THerefore, in studio classes, students are expected to learn the subject based on the foundational curriculum methods such as medium, genre, technique, rather than bringing oue their own interpretations and discussing theories. As a result, students have become artist, who are not able to understand their own art. art proffessors who conduct class in studio are required to proceed with specific 'theories' as well as 'intellectual reflections'. In this respect, this thesis presents poieses and an idea of 'acting out'. Although art history and aesthetic theory tend to view art as a finished product, actual art-making and related theories should not only be acknowleged as 'completion' finition) but also be accompanied by theoretic interpretations of the act itself and process. Accordingly, it is to accept and appreciate art as finished result in view of current theory and aestheties thus boils down to aisthesis. Likewise, poietics starts from a point where an artist is related to studio and examines the 'work process' that extends as far as to the exact end of work. THrough the study of such relationship, it is possible that theory understands 'studio' and 'process', and an artist can grant an independent meaning to studio where s/he pours her/his heart aout creating a worl of art. THeory is a study on artistic discovery thus should be equipped with functions that can accomodate fortuiry, imitation, thinking, culture, and surrounding.

The church growth in Jerusalem in Acts shows us the very model of a rapidly growing church that was emolled the church members about 3,000 or 5,000 into. All the church in this world nowadays envies such an amazing church growth. However, this does not mean the growth model of the single church, but the reality of the church growth in a total meaning for the all church in Jerusalem that was ministered by the apostles at that time. Hence, such a growth in Jerusalem means an essential figure that was searched by modern churches, because of not the growing model of the local church all over the world. At the moment of the earlychurch the abruptly growing church fortunately was possible by the power of the Holy Spirit, but is it possible of modern churches that are added a day about 3,000 or 5,000? This paper shows the model of the church growth theory of Jesus on the basis of the faith of Emmanuel that Jesus taught in his saying, “ For where two or three are gathered in my name, there am 1 in the middle of them."Although this teaching is on the smallest church that can be formed by the church members, one can evaluate that modern churches must reconsider obsessing the church growth in the sense of number. Later on Jesus' concept of church affected to Paul in that church means member, not building. When Paul addressed that church is the body of Christ, each part is working properly, and building makes bodily growth and up builds itself in love, the building means the body of Christ that is organic. The purpose of this paper is to find the principle of the church growth theory of the early church in the Gospels. For this purpose, this paper suggests that the view of discipleship and church growth theory of Jesus, by establishing the church theory of the synoptic gospels on the basis of the faith of Emmanuel. Here the role of layperson and women is necessarily reconsidered by the view of the church minisσy in modern churches. As a result, this paper suggests that churchgrowth model in the internal and external sense moves from the function of pastors to one of layperson.

It is the purpose of this study to document the decline of voice leading concept for the twentieth-century tonality.In this essay I shall try to show how Shostakovich achieves a sense of unity through the association of interval structures made up of linear melodic patterns and of the voice leading provided by accompanimental harmonic figures.Some twentieth-century music seems to invite the use of traditional analysis.Lots of music by Stravinsky, Bartok, Berg, and even Schoenberg has a kind of tonal sound, at least in certain passage. But on closer inspection, we generally find that tonal theory has little to tell us about most twentieth-century music. When twentieth-century composers create a tonal sound, they usually do so by using non tonal means. And for a piece to be tonal, it must have two things: functional harmony and traditional voice leading. But, a piece is not tonal, does not mean it can't have pitch or pitch-class centers. All tonal music is centric, but not allcentric music is tonal.Post-tonal voice leading models are 3 patterns. The first has its bases in the theories of Heinrich Schenker. The second has its the pitch-class set of Allen Forte and others. The third has its bases in recent theoretical work by David Lewin. The prolongational analysis identifies some tones as structural and others as embellishing. Associational analyses linear projections of harmonic type from musical surface. Transformational model shifts our attention from the chords themselves operations, transformations, that connect them.Nowadays, many composers are again exploring the possibilities of synthesis of tonal and atonal procedures. The time is ripe to approach voice leading techniquesanalytically.

This study provides a possibility of analysing rhythmic attributes of contemporary music through contour theory.The early idea of pitch contour occured as early as 1948 in the writing ofcomposers such as Toch and Schoenberg Over a decade later, the work of Charles Seeger, Charles Adams, and Micczyslaw Kollinski set forth the theories of contour analysis But, in the music theory, the concept was formalized by Robcrt Morris Michael Friedmann, and Larry Polansky, Elizabeth Marvin and Robert Morris, in particular, have signiflcantly developed the analytical methodology with which to apply the contour thory.contrast to the previous results of contour music analysis, which focused onpitch element, this analysis presumes that the rhytbms also show similar characterTo prove the hypothesis this thesis re-classified the Elizabeth Marvin and Noel Painenr's rhythmic analysis theories and adjusted the result into Stockhousen's In freundschaft. As a result the number of rtythmic characters that continuously appear in contemporary music were found Also, the possibility of defining similarities of ythmic element through various methods by adjusting the theories including inversion and retrograde, that are similar to set theory, was found.The contour theory will be a good example of analysing rhythms in contemporary music that were believed to be inconsistent in the past.

English language teaching in elementarγ school was proposed and is now in practice on the basis of the Critical Period Hypothesis which is also theoretically supported by innatists who argue that UG begins attrition around puberty and that language acquisition becomes increasingly difficult beyond this period. This was proved true of first language acquisition and naturalistic SLA, but no evidence has been known about instructed second language leaming in formal education. Elementary school ELT is supported by some parents who wish their children to leam this world language effectively, but the educational environment is far from utilizing the leamers' UG: few teachers are capable of providing authentic input, so the leamers depend on their general intelligence and leaming strategy rather than UG. It is suggested that high school age is optimum for utilizing leamers' motivation, intelligence, and leaming strategy.

It is essential that we have appropriate missions to share and communicate the Gospel, and to understand the interests, needs and world views of those we are trying to communjcate with. However, the big issue of today's missions seems to be the problem of cotextualization. During the mission history of two thousand years, there were so many experiences and attempts of the cross-cultural missions, questions like, "How the Gospel can be communicated effectively and relevant" figure prominently in the discussions of contextualization. The old forms or pre-stages of contextualization are accommodation, adaptation, and indigenization. It is enough to note some of that kind of approach, i.g. the missions of Mateo Ricci , Roberto de Nobili, etc. Although there has been much work on the subject of contextualization, the author will trace in this paper the historical background and theory of the contextualization. and try to show contextualization as a paradigm shift in mission theology. Then the author suggests to consider the theoretical basis of the contextualization, like principles, I) creative tension or complementarity of Gospel and cu ltures, 2) "indigenizing principle and pilgrim principle", 3) "critical contextualization", and "transcultural or supral cultural theology", and 4) "the prophetic, hermeneutical, and personal challenges of contextualization." However, contextualization is not the only method of missions, it has also limitations. Contextualization of the Gospel should be always reflected and reaffirmed in the process of mi ssions, by the "the international hermeneutical community"( ecumenical co-worker and local church leader, missionary and theologian), with the principle of theologia viatorum.

이 연구는 철근콘크리트 교각의 지진응답을 파악하고 합리적이면서 경제적인 내진설계기준의 개발을 위한 자료를 제공하는데 그 목적이 있다. 정확하고 올바른 지진손상 평가를 위하여 비선형 유한요소해석 프로그램을 사용하였다. 사용된 프로그램은 철근콘크리트 구조물의 해석을 위한 RCAHEST이다. 재료적 비선형성에 대해서는 균열콘크리트에 대한 인장, 압축, 전단모델과 콘크리트 속에 있는 철근모델을 조합하여 고려하였다. 이에 대한 콘크리트의 균열모델로서는 분산균열모델을 사용하였다. 두께가 서로 다른 부재간의 접합부에서 단면강성이 급변하기 때문에 생기는 국소적인 불연속변형을 고려하기 위한 경계면요소를 도입하였다. 또한, 같은 변위진폭에 있어서의 하중재하 회수에 의한 효과를 고려하였다. 연계논문에서는 철근콘크리트 교각의 지진손상 평가를 위해 제안한 해석기법을 신뢰성 있는 연구자의 실험결과와 비교하여 그 타당성을 검증하였다.

본 연구에서는 문헌을 통해 과학 창의성의 구성요소를 밝히고 창의성 계발 교육에 중요성을 두고 있는 영재 교육과정을 분석하여 과학 창의성 계발을 위한 프로그램을 개발하였다. 문헌연구를 통하여 본 연구에서는 과학 창의성을 특수한 문제(특히 잘 정의되지 않은 문제) 해결의 과정 또는 새로운 문제의 발견으로 보았다. 과학 창의성이 발현되는 중요 요소로서 과학지식, 과정지식, 확산적/비판적 사고, 문제의 종류, 문제의 발견력을 제시하였다. 과학 창의성 계발을 위해 3단계의 구분된 교수-학습 모형을 제시하였다. 1단계는 주제의 도입단계, 2단계는 소규모 과정 훈련단계 그리고 3단계는 실제문제를 해결하는 독립연구단계로 구성된다. 본 연구에서 개발된 프로그램은 지구과학영역에서 4개 주제 15차시 분량이다. 본 연구의 프로그램 개발과정과 산출물뿐만 아니라 프로그램의 특징, 운영 시 문제점들이 논의되었다.

In this paper, a study of 2-step damage detection for space truss structures using the extended Kalman filter theory is presented. Space truss structures are composed of many members, so it is difficult to find damaged member from the whole system. Therefore, 2-step damage identification method is applied to detect the damaged members. First, kinetic energy change ratio is used to find damage region including damaged member and then detect damaged member using extended Kalman filtering algorithm in damage region. The effectiveness of proposed method is verified through the numerical examples.

This study investigated preservice teachers' perceived constraints in implementing their ideal pedagogies and the influence of the teacher education program on their pedagogical beliefs changes. Unique features that the university-based coursework and field experiences had on preservice teachers' learning to teach were also explored. This preservice teacher education program employs constructivist aspects of teacher education and generates applications of constructivism to the practice of teaching. Major findings include: preservice teachers' having traditional pedagogy as the default, recovery of prior beliefs, constraints on implementing constructivist pedagogy, and being overly confident in themselves as teachers. With the influence of constructivist epistemology, these preservice teachers' pedagogical beliefs evolved and were refined over time as they incorporated various constructivist ideas. The benefits and influences of the M.Ed. program's theoretical coursework and the field experiences on these teachers' learning-to-teach experiences are addressed with rich data. The implications for teacher educators as well as for the instructional practices of preservice teacher education programs are discussed. Recommendations for future research are also presented.

본 연구는 기업의 국제화 과정에 있어서 일반적으로 받아들여지고 있는 `수출방식을 경유하는 점진적인 국제화`를 우리 기업의 경우에도 아무런 추가적인 고려 없이 연장·적용할 수 있는가를 살펴보고, 아울러 `수출방식을 경유하는 점진적 국제화`와 `수출방식을 뛰어넘는 급격한 국제화` 간의 결정요인을 실증적으로 규명하였다. 로지스틱 회귀분석 결과, 소유특유의 요인(기업의 규모, 국제화 경험, 제품차별화 능력) 중에서는 기업의 규모와 제품차별화 능력이, 그리고 입지요인(문화적 거리, 시장잠재력, 해외투자 위험, 현지국의 정책) 중에서는 문화적 거리와 현지국의 정책이 `점진적인 국제화`와 `급격한 국제화`간의 선택에 결정요인으로 작용하는 것으로 나타났다. 그러나 내부화 요인인 기술의 특유성은 이들 국제화 과정간의 선택에 아무런 영향을 미치지 못하고 있는 것으로 나타났다. 아울러 `점진적인 국제화`와 `급격한 국제화`간의 선택에 영향을 미치는 결정요인에 있어서 기업의 규모가 클수록, 제품차별화 능력을 가지고 있을 수록, 문화적 거리가 가까울수록, 그리고 현지국의 수입을 규제하거나 외국인투자 유인정책을 쓰고 있을수록, 수출방식을 경유하는 `점진적인 국제화`보다는 수출방식을 경유하지 않고 곧바로 해외투자방식을 이용하여 국제화하는 `급격한 국제화`를 추구할 가능성이 높은 것으로 나타나고 있다. 결과적으로 우리 기업들은 꼭 수출방식을 경유하는 점진적인 국제화만을 추구하는 것이 아니라 곧바로 해외투자방식으로 진출하는 급격한 국제화를 추구하는 경우도 많다는 사실이 실증적으로 확인되었다.

본고에서는 국제합작투자 이론적 배경으로서 시장실패와 조직실패 위험의 상쇄(trade-off) 메카니즘에 대한 분석이 이루어졌다. 시장실패란 거래비용에 의한 정상시장거래(arms-length transaction) 실패를 나타내며 조직실패란 관료비용(bureaucratic costs)에 의한 내부화의 실패를 의미한다. 해외진입 방식으로서 라이선싱은 정상시장거래 형태이며 단독투자는 완전 내부화, 그리고 합작투자는 준내부화(quasi-internalization)의 형태로 볼 수 있다. 과거의 연구들에 있어서는 시장실패에 의한 거래비용이론에 기초하여 이들 거래통제구조, 즉 해외진입방식의 선택에 대한 연구가 주를 이루었다. 즉 시장실패 위험이 높을수록 정상시장거래 보다는 내부화 형태를 선호한다는 것이다. 그러나 시장실패 위험만 가지고서는 합작투자 당위성과 그 소유구조를 충분히 설명할 수 없다. 기업은 해외진입방식 선택시 시장실패뿐만 아니라 조직실패 위험도 고려할 것이다. 시장실패 시와는 달리 조직실패 위험이 높을 경우에는 기업은 내부화 수준을 낮추거나 정상시장거래 방식을 선호할 것이다. 문제는 시장실패와 조직실패 위험이 모두 높거나 낮을 경우에 기업이 취할 수 있는 대안이다. 이를테면 높은 시장실패는 기업으로 하여금 단독투자를 선호케 하나 반대로 조직실패 가능성은 시장거래방식으로서 라이선싱을 선호케하는 상황에 빠지게 한다. 시장실패와 조직실패 위험이 모두 낮을 경우에도 마찬가지이다. 따라서 기업은 시장실패와 조직실패가 모두 높거나 낮은 상황 하에서는 이 두 극단적인 대안 중 어느 하나의 대안을 고수하기보다는 양극단의 절충을 꾀하고자 할 것이다. 즉 거래비용과 내부조직비용을 어느 정도 통제하고 상쇄시킬 수 있는 합작투자가 합리적인 대안이 된다는 것이다. 요컨대 기업간 합작을 통해 한편으로는 시장거래에서 발생되는 거래비용을 어느 정도 낮출 수 있고 또 다른 한편으로는 내부조직비용도 반감시킬 수 있는 것이다.