• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.4
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• pp.113-125
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• 2012

This study, as one on the neck design of seamless knitwears, set out to make experimental clothes applying various knitting methods to the hem of round neck, seek the knitting methods of finishing touches on the ending part of round neck to enhance function and aesthetic appreciation through measuring tensile strength and assessing wearing sensation, and provide basic data that would be of practical help to developing the design of seamless knitwears and mass production in the national knit industry. The ending part of neck of the seamless knitwear is not only the last stage in making knitwear but also affects the function and appearance of the clothes. The investigator, thus made six different pieces of experimental clothes according to the finishing methods of knitting on the neck, then measured tensile strength and put them to the test by a group of experts for the assessment of wearing sensation. The results were analyzed based on variance analysis(ANOVA), and the items with similar results were put to the Duncan test for intergroup comparison. According to the analysis results of measuring tensile strength, Experimental Clothes B received the highest evaluation, Experimental Clothes E the lowest. Also Experimental Clothes B was ranked the highest in almost every evaluation criteria, whereas Experimental Clothes E was ranked the lowest in the assessment of wearing sensation.

• (The) Research of the performance art and culture
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• no.39
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• pp.701-748
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• 2019

Gwanak-yeongsanhoesang, called as Samhyeon-yeongsanhoesang or Pyojeongmanbangjigok, is played by the musical instrumental organization, Samhyeonyukgak or by a large scale wind ensemble added Sogeum and Ajaeng. This study aims to analyze the structure and form of Piri melody which plays major melody of Sangnyeongsan in Gwanak-yeongsanhoesang, and to examine the relationship between Piri melody and Daegeum yeoneum grasping the structure and function of yeoneum. In Sangnyeongsan of Gwanak-yeongsanhoesang, the criterion for grouping the phrases of Piri melody is yeoneum. Especially, Daegeum yeoneum carries out the function of finishing the phrase of Piri playing the major melody by ornamenting or extending it, and presenting the motives or motive elements of the next phrase while Piri rests. The types of a, b, g, and i in the various shapes of the minimum melodic fragment of Piri are important motive elements that constitute a phrase of Piri melody. Especially, main motive a-type (仲→無) contrasts with b type (林→潢) which forms a strong tension by transposing 2 degrees upward. In addition, a-type gradually descends towards the end of music by changing to g-type (仲→林) or to i-type (太→林) which is 3 degrees below, which is related to the gradual descent cadence of Korean traditional music. A phrase of Piri melody of Sangnyeongsan in Gwanak-yeongsanhoesang consists of a combination of the types a, b, g, i, and cadence (x-type), and each phrase is structured in the repeating tension-relaxation. Looking at the structure of Piri phrases by similar types, each phrase has a logical variation structure through the methods such as omission and addition of notes, and crossing of melodies. The shape of the minimum melodic fragment of Daegeum yeoneum can be divided into a back-yeoneum of a~b types and a front-yeoneum of x1~x3. The x-types ornament Jungnyeo (仲), the cadence tone of Piri melody or are simply used as the extending back-yeoneum, and types a and b have the function of a front-yeoneum that prepares the beginning of the next phrase of Piri melody. The combination types of the minimum melodic fragment of Daegeum yeoneum appear mostly as the shape of back-yeoneum + front-yeoneum. In addition, the front-yeoneum of the type a and b appears independently without back-yeoneum, and the x3 type has a shape of the back-yeoneum without the front-yeoneum. Looking at the structure of Daegeum yeoneum by similar types, it can be seen that Daegeum yeoneum is also composed of a variation structure of omission and addition of notes like Piri melody.

• Journal of the Korean earth science society
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• v.22 no.5
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• pp.360-376
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• 2001

This qualitative research investigated in-service science teachers' perceptions about cooperative learning and their perceived barriers in implementing cooperative learning in their classrooms. The underlying premise for cooperative learning is founded in constructivist epistemology. Cooperative learning (CL) is presented as an alternative frame to the current educational system which emphasizes content memorization and individual student performance through competition. An in-depth interview was conducted with 18 in-service science teachers who enrolled in the first-class teacher certification program during 2001 summer vacation. These secondary school teachers's interview data were analyzed and categorized into three areas: teachers' definition of cooperative learning, issues with implementing cooperative learning in classrooms, and teachers' and students' responses towards cooperative learning. Each of these areas are further subdivided into 10 themes: teachers' perceived meaning of cooperative learning, the importance of talk in learning, when to use cooperative learning, how to end a cooperative class, how to group students for cooperative learning, obstacles to implementing cooperative learning, students' reactions to cooperative learning, teachers' reasons for choosing (not choosing) student-centered approaches to learning/teaching, characteristics of teachers who use cooperative learning methods, and teachers' reasons for resisting cooperative learning. Detailed descriptions of the teachers' responses and discussion on each category are provided. For the development and implementation of CL in more classrooms, there should be changes and supports in the following five areas: (1) teachers have to examine their pedagogical beliefs toward constructivist perspectives, (2) teacher (re)education programs have to provide teachers with cooperative learning opportunities in methods courses, (3) students' understanding of their changed roles (4) supports in light of curriculum materials and instructional resources, (5) supports in terms of facilities and administrators. It's important to remember that cooperative learning is not a panacea for all instructional problems. It's only one way of teaching and learning, useful for specific kinds of teaching goals and especially relevant for classrooms with a wide mix of student academic skills. Suggestions for further research are also provided.