• 말소리와 음성과학
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• 제10권4호
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• pp.163-171
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• 2018

A mixed dysarthria with combinations of hypokinetic, ataxic, and spastic components is a common clinical feature of multiple system atrophy (MSA). Due to the rapid progress of dysarthria after diagnosis, people with MSA experience difficulty with verbal communication, which eventually affects their quality of life negatively. In this study, SPEAK $OUT!^{(R)}$, an intensive 1:1 treatment of dysarthria for improving functional communicative ability, was provided to twelve people with MSA. To evaluate the efficacy of SPEAK $OUT!^{(R)}$ in people with MSA, aerodynamic, acoustic, and perceptual analyses were conducted. Pre-and post-therapy data included maximum phonation time, vocal intensity, and fundamental frequency during /a/ sustained phonation and passage reading; frequency range between high /a/ and low /a/ phonation; jitter, shimmer, and HNR for vocal quality; speech rate during passage reading; and perceptual evaluation scores for articulation precision and intonation. The participants achieved statistically significant improvement in vocal intensity, pitch range, vocal quality, speech rate, and speech intelligibility. In conclusion, SPEAK $OUT!^{(R)}$ is a feasible treatment for people with MSA to efficaciously improve their speech ability.

• 한국콘텐츠학회논문지
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• 제18권11호
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• pp.634-642
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• 2018

소뇌운동실조증(SCA)은 유전성, 진행성 신경장애로 SCA 환자는 소뇌위축으로 인한 실조형 마비말장애를 보인다. 본 연구는 집중 말운동치료를 통해 SCA환자의 진행성 실조형 마비말장애의 개선의 유무를 확인하고, 개선이 있는 경우, 치료전후의 변화의 정도를 보고하고자 한다. 55세의 SCA 여성 환자를 대상으로 말운동 기능 개선을 위한 SPEAK $OUT!^{(R)}$ 치료프로그램을 시행 후, 큰 효과크기 수준에서 MPT와 과제별 음량의 개선이 관찰되었고, 음도의 경우 적은 효과크기의 변화를 보였다. 그러나 음도의 폭은 큰 효과크기의 변화를 보였다. 음질은 jitter, shimmer, HNR 모두에서 큰 효과크기 수준에서 긍정적 개선을 보였고, 모음면적도 넓어졌는데 이때 F1의 변화가 두드러졌다. 또한 심도 수준의 VHI점수는 치료 후 경도 수준으로 낮아졌다. 집중 말운동치료 프로그램인 SPEAK $OUT!^{(R)}$의 시행을 통해 SCA 환자의 음량, 음도, 음도의 폭, 음질, 모음면적의 증가를 관찰하였고, 음성장애에 관한 주관적 인식의 변화도 긍정적으로 감소하였다. 기초연구로서의 본 결과를 바탕으로 SCA환자의 진행성 실조형 마비말장애 개선을 위한 SPEAK $OUT!^{(R)}$에 대한 좀 더 체계적인 검증을 위한 후속 연구가 필요하다.

• 미술이론과 현장
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• 제7호
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.