• (The) Research of the performance art and culture
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• no.39
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• pp.669-700
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• 2019

Farmers' band music is a religious ritual in Korea. It is a solemn ritual to exhibit the auspicious holiness of the people to the God. Most of the ritual is accomplished by music. The music of the farmers 'band, in this sense, has its meaning as the expression of holiness by sound. In this paper, I will explore the principle to make various rhythms of farmers' band music, especially focusing on the chaegut (lit. "stroke music"). It is very symbolic because the name of the music shows the strokes of the gong, called jing, in a rhythmic phrase. In this sense, the chaegut is man-made music based on the specific principles in accordance with the strokes of the gong. Among many chaegut rhythms, samchae (lit. "three strokes") to chilchae (lit. "seven strokes") are the main rhythms. They were made after the principle of 'forward with drums, backward with gongs' in Five way procession. It the basic principle of military procession from the early Joseon Dynasty. The procession follows with the sound of the drums and gongs. There was always a principle of "five strokes" to control the procession. The "five strokes" became the basis of the making of chaegut rhythms. The rhythms of the samchae to chilchae are based on the rhythm of samchae. The samchae has three gong strokes in a cycle, which exhibits the chaotic moment with the rhythmic noise. The name of the rhythm exhibits the correspondence of the signifiant, that is the name "three strokes" and the signifié, that is the real three strokes of gongs in music. Other four rhythms has made up from the samchae with half cycles are added in accordance with the strokes of the gongs. In this way, the chaegut shows the principle of "five strokes" in the military procession. The rhythm of ochae jilgut is a mixture of ochae (lit. "five strokes") and jilgut (lit. "road music") which is usually performed on the road to a mountain shrine. The musical structure of ochae jilgut corresponds to the colotomic structure of Southeast Asian music and the 15th-century music of old musical scores. The rhythm of gilgunak chilchae is a mixture of gilgunak (lit. "road military music") and chilchae (lit. "seven strokes"). The rhythmic structure is similar to other regional music, sijo ("short song") of the literati music and norae garak (lit. "some melody") of the shaman music. In sum, the chaegut is very artistic music made from the military procession of the Joseon Dynasty. The name of the rhythm corresponds with the strokes of the gong in a cycle. In this way, the chaegut shows the principle of music-making to exhibit the ritual characteristics of the Korean people.

• 월간 기계설비
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• s.292
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• pp.70-78
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• 2014

가락동 농수산물도매시장은 지난 1985년 개설된 국내 최초 공영도매시장이자 연간 230만톤 거래 규모의 세계 최대 도매시장으로 서울시민 농수산 먹거리의 약 50%를 담당하고 있으며 전국 공영도매시장 물량의 약 33%를 처리하는 등 전국 농수산물 유통의 중추 기능을 담당하고 있다. 가락시장은 5,000여개 유통업체가 영업 중이며 하루 이용객은 13만명, 출입차량은 6만7,000대에 달할 정도로 과부하를 겪고 있다. 또한 도시 주거환경을 저해하는 혐오시설로 치부돼 이전 압박을 받아왔으며 전반적인 시설 노후화와 유통 수요에 부적합한 물류구조, 주변 교통정체 야기 등의 문제로 시설현대화 필요성도 제기되어 왔다. 이에 따라 서울시농수산식품공사가 지난 2009년 재건축을 통한 시설현대화 사업을 발표하고 기존의 시장 기능을 유지하면서 재건축을 하는 순환식 시설현대화 사업을 3단계(당초 계획은 2009년~2018년까지 10년 예상했으나 가락시장 계획변경 타당성 검토용역 결과에 따라 2025년까지 지연될 것으로 예상됨)에 걸쳐 추진키로 했다. 이에 따라 1단계 사업은 지난 2011년 6월부터 진행되어 2015년 2월 준공 예정이다. 본지는 가락시장 시설현대화 1단계 공사에서 기계설비 및 소방공사를 담당한 (주)성아테크(대표 정해돈) 이완식 현장소장과 시공사인 대림산업(주) 박승재 현장소장을 만나 현장 이야기를 들어 보았다.

• Journal of the Korean Society of Food Culture
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• v.18 no.5
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• pp.483-489
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• 2003

• Agrochemical news magazine
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• v.22 no.1 s.164
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• pp.8-11
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• 2001

• Journal of Digital Contents Society
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• v.5 no.3
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• pp.213-218
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• 2004

The objective of this paper is to verify the usefulness and validity of ICT-based elementary education for musical composition using multimedia technology. Cearing with the characteristic of musical education, multimedia technology, which has made dazzling progress thanks to the rapid development of computer for the last several year, is expected to be a new alternative to overcome various problems of musical education and enhance students` musical function and knowledge. In particular, if ICT-based musical education is introduced in teaching musical composition, in which many elementary school techers feel difficulties, significant education effects will be produced. ICT-based musical education method in the paper identified imitation and problems in traditional theory-based learning and musical composition class using musical instruments and, as a part of resolving the limitations and problems, instructed elementary students in how to use a computer program and applied the program to musical composition class. As a result, the method maximized learning effect and improved stusents` ability to create melodies in a short term compared to traditional teaching methods.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.6
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• pp.238-245
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• 2020

The objective of this study was to analyze the market structure of the Garak Agricultural Products Wholesale Market, which has the greatest influence among agricultural products wholesale markets and plays a key role in domestic agricultural products distribution. In addition, through analysis of the management efficiency of the wholesale market corporation, which is a major distributor of the Garak Market, the connection relationship between the market structure of the Garak Market and the management efficiency of the wholesale market corporation was able to be identified. From 2007 to 2018, it was found that the market structure of Garak Market was a monopoly. In addition, the average production efficiency of the five wholesale market corporations was 0.95, indicating that the wholesale market corporation in Garak Market has an efficient production structure with high output compared to input. Therefore, in order to activate the agricultural products wholesale market and protect the rights of producers and consumers based on the analysis results, it is necessary to implement a policy that can establish a competition system among agricultural products wholesale market distributors.

• SUVANNABHUMI
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• v.2 no.1
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• pp.95-110
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• 2010

Poem plays an important role in Ca trù. Many music researchers say that singing Ca trù is singing poem. Of 46 tunes of Ca trù, there are more than 10 tunes expressed in available poems or styles of poetry; for example: in the tune Tỳ bà, the performer could sing Tỳ bà hành by Bạch Cư Dị being converted into seven-seven-six-eight-word-meter; in the reciting poem tunes, just reciting 5 Thien thai poems by Tào Đường or 3 Thanh Bình tune poems by Lý Bạch; in the reciting poetic essay (phú), reciting Tien Xich Bich and Hau Xich Bich by Tô Đông Pha. Others like bắc phản, cung bắc sometimes used six-eight word meters. Structurally, those are available for familiar types and beyond the scope of particular creativity because they do not originate from Ca trù's activity environment like recitative. Recitative is the main tune of Ca trù and has become an independent poem type. In terms of literature, recitative has a particular form structure and special type content. Unlike other tunes of Ca trù that only stop at some fixed works, recitative has increased to thousands of works in quantity and has been composed for many centuries. For those reasons, we confined ourselves the research to the creation which is the most typical of Ca tru: The recitative.

• Sijohaknonchong
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• v.43
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• pp.41-66
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• 2015

A study on rhythm of a sijo was mostly conducted based on rhythm theory. As it is considered to define the rhythm of a formal sijo based on three verses, its significance has been recognized. However, if rhythm is understood to be superior to cadence or versification, it seems necessary to examine the rhythm of a sijo as a verse with a fixed form as well as a highly individual rhythm of each and every lyric poet, which is informal rhythm, in order to fully understand them. In this case, prosodie analysis by H. Meschonnic (1932~ 2009) can be a significant methodology. As this study gropes for a possibility to examine the rhythm of a sijo from a new perspective instead of existing rhythm theory through the application of H. Meschonnic's prosodie analysis, it can be regarded as an essay. Prosodie newly suggested by Meschonnic is referred to as linguistic organization of consonants and vowels and indication of their paradigm, and it conflicts the perspective that traditionally separates linguistic sound from meaning for dichotomous understanding. It is due to the fact that the organization of consonants and vowels is a unit that constitutes a complicated layer of significant sound and meaning. Accordingly, prosodie analysis that is irregularly and aperiodically distributed within poetic text can be considered as methodology aimed at explaining how a poem is integrated in terms of sound and semantics. The core of prosodie analysis is to examine how the phonologic system stands against the theme of a poem. It ultimately has the same way of establishing literary style of a poet as it is to explain a unique aesthetic structure that individual poems have and show distinct characteristics of linguistic use by a poet. Prior to application of the prosodie analysis to sijo in general, the study preparatorily conducted prosodie analysis on < Ouga > by Gosan Seon-do Yun.

• Cement
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• s.198
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• pp.134-135
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• 2013

• 방재와보험
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• s.30
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• pp.34-35
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• 1986