• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.66-81
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• 2009

The purposes of this study were to analyze the formative relationship between Surrealistic clothes and hat with the focus on the period from the 1990's to 2008 and to find out the development direction of next hat design. The method to analyze the relationship between clothes and hats was the formative analysis by Marian L. Davis and Marilyn R. Delong. Hat design of surrealism was cylindrical or tear drop in a shape according to the principle of $D{\acute{e}}paysement$ and Trompe l'oeil, and was similar with the Form of a jacket, a sleeve, or a skirt. In color, accent color coordination mainly appeared and sometimes contrast color coordination induced illusion effect. In material, a variety of materials were used according to the principle of $D{\acute{e}}paysement$ and Trompe l'oeil, and contrast was widely used like color. In Decoration, the decoration or pattern of clothes was intactly applied to hats. The results suggest that clothes and hat have an organic relationship, and a hat style is changed with formative elements of clothes.

• Phonetics and Speech Sciences
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• v.7 no.3
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• pp.117-128
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• 2015

This paper investigates the acoustic-perceptual relation between Korean dent-alveolar fricatives and the English voiceless alveolar fricative /s/ in varied prosodic contexts (e.g., stress, accent, and word initial position). The denti-alveolar fricatives in Korean show a two-way distinction, which can be referred to as either plain (lenis) /s/ or fortis /$s^*$/. The English alveolar voiceless fricative /s/ that corresponds to the two Korean fricatives would be placed in a one-to-two non-native phoneme mapping situation when Korean listeners hear English /s/. This raises an interesting question of how the single fricative of English perceptually maps into the two-way distinction in Korean. This paper reports the acoustic-perceptual mapping pattern by investigating spectral properties of the English stimuli that are heard as either /s/ or /$s^*$/ by Korean listeners, in order to answer the two questions: first, how prosody influences fricatives acoustically, and second, how the resultant properties drive non-native listeners to interpret them as segmental features instead of as prosodic information. The results indicate that Korean listeners' responses change depending on the prosodic context in which the stimuli are placed. It implies that Korean speakers interpret some of the information provided by prosody as segmental one, and that the listeners take advantage of the information in their judgment of non-native phonemes.

• Journal of Fashion Business
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• v.4 no.1
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• pp.33-44
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• 2000

The purpose of this study is to research Miao ethnic costume which have been distinctly expressed differences according tribes and areas, present fashion design reflecting image of Miao ethnic costume. Two steps was taken in order to achive this purpose. The first step was to put in order formative characteristics of Miao ethnic costume being based on the Chinese books and domestic research materials. The second step was to study formative characteristics of Miao ethnic costume in comparison 2000A/W fashion trend, illustrate and schematize fashion designs. The results of formative characteristics of Miao ethnic costume are summarized as follows 1. X or H silhouette through skirt & jacket and pants & jacket. 2. Layered look that been twisted around several items. 3. Fine pleats skirts. 4. Refined and splendid color. Black was used main color, dark blue & red purple were used coordi color, vivid color were used accent color 5. Geometrical pattern, cross stitch embroidery. 6. Various ornaments being used silver. 7. Various hair styles and hairdressers. Using above characteristics, this study presneted fusion fashion design combined images of ethnic and techno with dark blue, mustard, blue purple. The target was Forties, professional woman.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.177-185
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• 2012

The purpose of this study is to use as the basic data for design method in commercial space. So, we analyzed whether any emotion was induced by finishing materials in the commercial space. And we was to suggest expression methods of finish materials to induce in the emotional space. The results of this study are as follows : First, we could know that the emotional design is needed to enhance satisfaction of consumers. The role of finishing material is very important in emotional expression in the commercial space. Second, we extracted the adjectives vocabulary(14 pairs) to evaluate the space emotion. we could educe the four kinds of space emotion by Factor Analysis. In addition, we could arrange the emotional words to represent each space type(Decoration : 5 pairs, Expand : 4 pairs, Limitation : 3 pairs, Hierarchy : 2 pairs). Third, to use finishing materials and wall is very effective to induce the emotion in the emotional space. To use the color is good among the elements of finishing materials. Fourth, We could find that the center of the types of emotional space was induced with the boundary and the decoration. If we use contrasting colors and accent colors in the commercial space, we can induce the center and the boundary together. And if we use colorful or unusual patterns, we can induce the center and the decoration together. Fifth, To induce the expand, we should finish with one color in space. And To induce the center, we should finish with one type of the color or pattern and then we should partially use the contrast color and special pattern. the case of boundary, it is good method to part emphasize by color, texture and materials. And we can induce the decoration with materials and patterns.

• Phonetics and Speech Sciences
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• v.2 no.3
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• pp.101-113
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• 2010

The present study investigated how the kinematics of the /a/-to-/i/ tongue movement in Korean would be influenced by prosodic boundary. The /a/-to-/i/ sequence was used as 'transboundary' test materials which occurred across a prosodic boundary as in /ilnjəʃ$^h$a/ # / minsakwae/ ('일년차#민사과에' 'the first year worker' # 'dept. of civil affairs'). It also tested whether the V-to-V tongue movement would be further influenced by its syllable structure with /m/ which was placed either in the coda condition (/am#i/) or in the onset condition (/a#mi). Results of an EMA (Electromagnetic Articulagraphy) study showed that kinematical parameters such as the movement distance (displacement), the movement duration, and the movement velocity (speed) all varied as a function of the boundary strength, showing an articulatory strengthening pattern of a "larger, longer and faster" movement. Interestingly, however, the larger, longer and faster pattern associated with boundary marking in Korean has often been observed with stress (prominence) marking in English. It was proposed that language-specific prosodic systems induce different ways in which phonetics and prosody interact: Korean, as a language without lexical stress and pitch accent, has more degree of freedom to express prosodic strengthening, while languages such as English have constraints, so that some strengthening patterns are reserved for lexical stress. The V-to-V tongue movement was also found to be influenced by the intervening consonant /m/'s syllable affiliation, showing a more preboundary lengthening of the tongue movement when /m/ was part of the preboundary syllable (/am#i/). The results, together, show that the fine-grained phonetic details do not simply arise as low-level physical phenomena, but reflect higher-level linguistic structures, such as syllable and prosodic structures. It was also discussed how the boundary-induced kinematic patterns could be accounted for in terms of the task dynamic model and the theory of the prosodic gesture ($\pi$-gesture).

• Journal of Digital Convergence
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• v.19 no.9
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• pp.217-228
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• 2021

The purpose of this study is to analyze drum performance techniques, focusing on the representative artists of funk music, who had a revival starting in the 1970s. The purpose of this study is to analyze the creativity shown in David Garibaldi's playing technique, which had a great influence on drum majors with his funk drum playing technique. As a research method, 'James Brown', 'Earth, Wind & Fire' and 'Tower of Power' with David Garibaldi as drummer were selected as representative bands. For the study period, the drum performance was examined by selecting two representative songs from among the songs released between 1965 and 1975, when the development of the corresponding funk music began. David Garibaldi's creative performance in this study is as follows. First, we tried to create a new rhythm in the form of changing the beat or resting the beat out of the frame of contemporary drum performance. Second, the 'Paradiddle', 'Accent', and 'Swiss Army triplet' rudiment techniques were applied to the entire drum kit, bringing innovation to the rhythm. Third, the samba pattern of Latin rhythm and the form of 'Afro-Cuban' were grafted onto funk music. Fourth, the idea of Unison Rhythm obtained from the structure of Latin music was applied to funk music. Based on this study, it is hoped that research on drum performance techniques of various genres will be conducted.

• Korean Institute of Interior Design Journal
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• v.19 no.6
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• pp.47-58
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• 2010

Frank Lloyd Wright(1867-1959) was regarded as the pioneer of the modern architecture in the beginning and transition period of 20th century. His works have the pure shape form which have the deep relationship with the organic architecture. Wright told himself that the Froebel System had an influence on his works a lot. This study have researched about the three dimensional application of the Froebel System in his works with assembling and disassembling. Also the two dimensional application in the diagonal and circular plans are the one of the subjects here. The following conclusions are reached. First, The similar of the Wright's works and the Froebel System was the application of the similar principles rather than the copy of the method, which are the accent of the center, the composition of the part and whole, the understanding of the composition principle through the unit system and the unfolding of the crystal by rotation. Even thought the Wright's works have the triangle, square, hexagonal shape, the way of the expansion from the centered space was same. Also the space formed by the division of the center space, unfolds making the part and whole by overlap and continuation. The 2nd Froebel make space decided by the Net and Crystal Lattices which have the crystal characteristics by the rotation. The new geometric architecture, pinwheel, was created by this method. The application of the Froebel in the Wright's works have the several sets which are the 3th, 4th, 5th, 6th Froebels, 2nd, 7th Froebels and the 3th, 5th, 9th Froebels. The geometrical analysis of the square shape and the diagonal shape of the Wright's works was possible. The unfolding of the centered space can be found in the Guggenheim Museum using the analysis of the circular geometric of the 9th Froebel. The above study proves that the Froebel was not a mere tool for the basic shape training but also the main body of Wright's works which consists of the organic idea and philosophy of the space.