• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.163-176
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• 2015

This study aims to decode newly 'Mojookjirangga' of the Sillian songs on higher viewpoint that is to integrate previous decodings; furthermore to discuss a musical composition of the Sillian song. So to speak, when we read 'hoe(廻)' as 'gam(감)-' instead of 'dol(돌)-' in the song 'Mojookjirangga' which was written in Chinese Characters, such a decoding contributes largely to grip the deep meaning-structure of the elegiac song. Consequently we are able to sing that 'Mojookjirangga' according to the characteristics of national music. However the characteristics of national music are 1) the length of a phrase makes a rhythm, 2) the first beat is strong beat and becomes more and more weak, 3) there are shaking sounds on the long rhythm and changing vowels, 4) there is deep and great dignity in those national music songs. Then we can find those characteristics easily at Sijo-songs. In fact, the Sillian songs and Sijo-songs of Chosun period are more popular music. Then we are going to sing 'Mojookjirangga', referring to the method of Sijo-song and the characteristics of national music. Nowadays such an attempt is to contribute to enrich our national culture and to make the global Korean-stream more abundant.

• (The) Research of the performance art and culture
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• no.32
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• pp.171-208
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• 2016

Female folk song singers do not necessarily recognize the indigenous elements, which are, however, naturally reflected in the narration in the context. Singers of Taebaek Ararei recognize the dialect, the tone and the song when performing. Traditional Ararei had been performed by singers in the village of slash-and-burn field in Hwangji. Cheolam and Jangseong do not have their own traditional songs sing they are mining regions but had adopted songs from other areas including Gyeonggbuk, which still remain as alternative versions. Many elements of Jeongseon Arari and Samcheok Menari are in the narration and the songs. In terms of the context, alternative versions of Ararei are old Arirang melodies from slash-and-burn fields and were confirmed to be a very old form of oral folk songs in Gangwondo. Female singers of 3 generations, Hwaok Mun, Geumsu Kim and Hyojeong Kim, who keep the tradition and identity of Taebaek Ararei, show the integration of the past, present and future of Ararei. The Ararei Preservation Society continuously organizes singers' performances and maintains the tradition. The singer Hwaok Mun was born in Taecheon, Pyeongannamdo and moved to south at 5 and lived in Hajang, Samcheok and then moved to Jangseong and lived in Jaemungok. She is a mother of 6 children and has been a farmer for most of her life. She currently resides in Mungokdong and would sing Ararei at village feasts or events. She says she learned the song naturally because Ararei was sung very often in the past around Taebaek area. She is a typical native Arirang singer. The singer Geumsu Kim is a daughter of Hwaok Mun and leads the Taebaek Ararei Preservation Society to study, maintain and introduce the sound of Taebaek(Taebaek Arirang). She introduces Miner Arirang and Taebaek Ararei to the society members and the local residents. The singer Hyojeong Kim is a granddaughter of Hwaok Mun and follows the tradition of her grandmother and mother while adopting more modern Arirang contents.

• Sijohaknonchong
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• v.22
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• pp.143-171
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• 2005

Sip and Byul-Gok (New tunes), as folks musics, are musical concepts opposite to that of the Court musics. They have the tunes. typical and universal. and Byul-Gok for singing. has the words in which the properties of melodies in the structures of compositions are reflected harmoniously. The Song. or Shiga. in Koryo-Sa, History of Koryo. Acjee and Acjanggasa. named ByulGok. is divided into two types. according to the characteries of the forms.: Koryo Sokyo. or the folk songs in Koryo. such as Chengsanbylulgok. and Segyoungbyulgok. and Kyonggichega, or nobility songs in Koryo and Chosen Dynasty. such as Hallimbyulgok. Kwandongbyulgok. and Jucgyebyulgok. In addition. Gasa. or the nobility and folk songs in Chosen Dynasty. such as K wandongbyulgok. also has the title. Byul-Gok. Even though these types of the songs have the same tittle. Byul-Gok, it is not appropriate that Byul-Gok is used as a term described as a branch of the literature: in light of music. they have the properties in common in the sense that they are opposite to the Court music. but. in light of literature. their forms are very different from one another. Therefore, it is appropriate that they are classified according to the characteristics of the forms, winters, the ideology of people who enjoy them, and periods: Sokyo, Kyonggichega, and Gasa. Byul-gok means not only the folks songs opposite to the court musics, but also the songs by setting words to the melodies present. Orignal tunes and their new tunes are not different musical compositions, but the same ones with the melodies which Korean acquired transcendentally. It is general tendency, at those times, that after compositions were made, words are set to them. Such words represent the politic thought in which courtesy and music are considered important. and the spirit with which the ruler and the people enjoy together.

• 사료
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• s.16
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• pp.2-4
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• 2005

농림부 국립수의과학검역원은 최근 고병원성 조류인플루엔자가 태국 ․ 베트남 등 동남아국가에 이어 러시아 ㆍ 카자흐스탄 ㆍ 몽골 등 우리나라 주변국에서 잇따라 발생하고 있고, 특히 러시아(시베리아 등), 만주 등지에서 조류인플루엔자 주요 전파 요인이 되는 북방철새(가창오리, 청둥오리, 기러기 등)의 국내 도래시기(10월말)가 다가오고 있어 철새 등에 의한 고병원성 조류인플루엔자의 국내 유입이 매우 우려됨에 따라 이를 사전에 차단하고자 10월 14일부로 조류인플루엔자 예보를 발령했다

• (The) Research of the performance art and culture
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• no.37
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• pp.391-435
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• 2018

This is the first study in Musicology that discusses the features of Kangwon Sangkangrye(the pre-lecture ritual in Buddhism). In this thesis, I reviewed and compared the similarity and uniqueness between Kangwon Sangkangrye in "Seokmunuibom" and the one being performed these days. The musical relation between the performance shown in the historical record and the one in contemporary ritual was illustrated here based on the findings derived from the anlaysis on its bell(小鐘) performance. The analysis made upon musical sources recorded on-site shows the characteristics of contemporary Kangwon Sangkangrye. Following is a brief summary of this study. The review and comparison between Kangwon Sangkangrae in "Seokmunuibom" and the one being performed these days showed that the second type, which was significantly different from the first type, was closer to that of the historical record. The performers at Unmunsa Temple and Chungamsa Temple seemed to be following the tradition bell(小鐘) performance style which was found in the text of the historical record. Through the analysis on Kangwon Sangkangrae, I found that it has musical characteristics as follows. The vocal range of type 1 and type 2 was mostly performed within Minor 7th and didn't exceed the perfect 8th. The melodic structure of type 1 starts with do'-la of naedeureum and ended with the melody which downscaled from do' and finalized from mi to la. Usually the mode was in menari-tori but at some lecture halls a few cases found to be upscaled from sol to la which differentiates it from the typical menari-tori of folk songs. Like the typical way of traditional rites, the singing was divided into two parts: the leading call and the following choral response. Most were sung to be one syllable on one or two tones or one syllable lasting for several tones and the musical forms were varied by musical pieces. Meantime, Sangkangrae at Haeinsa Temple was differed from that of the other temples in terms of ritual procedure and vocal style. It added Korean version of and the lead vocal skipped the first phrase of the Sasul. The melodic structure of Type 2 started with do'-la of naedeureum and was finalized as the same way of Type 1. The mode of was not the same as typical menari-tori but the Jeongrye(prostration) and Balweon(a great vow) were identical to the menari-tori of folk songs. The singing was done in two forms, solo and unison, and the lyric-attachment of Gesong was one syllable for one or two tones and that of Jeongrye and Balweon were one syllable for one or two tones + one syllable for several tones. The musical form of Jeongrye is A-B-C and A-C. Balweon didn't display a certain periodicity but still maintained sense of unity and formality through repetition of the finalizing melody.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.28 no.1
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• pp.14-16
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• 2017

Pop singers frequently use breathy voice to express diverse emotion. Such method is the major factor that divides vocalization in pop and classical music. Using breathy voice too much for a long time could make singer short-winded, which might cause the voice injured. In order to prevent the problem, singers need to find resonance balance between high notes and low notes and among vowels. Moreover, they should take more attention when producing resonance in consonants with much air flow. Along with finding resonance balance, if skilled at controlling the volume of voice, singers can use the breathy voice selectively at the desired part, adjusting close quotient freely. Through this kind of approach, pop singers can develope their unique style of vocalization and avoid the vocal damage.

• KOREAN POULTRY JOURNAL
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• v.33 no.11 s.385
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• pp.101-105
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• 2001

가금콜레라(Fowl Cholera)는 야생조류와 닭$\cdot$오리에서 급성 패혈증을 일으키고, 부검시 복강내 실질장기(심장, 근위, 십이지장)에서의 출혈을 일으킨다. 특히, 이 질병은 간의 다발성 괴사반점을 보이고 때로는 신경증상을 나타내는 것을 특징으로 하는 세균성 질병으로 제 2종 법정 가축전염병에 속한다. 국내에서는 지난해인 2000년 10월 22일부터 충청남도 서산시 소재의 천수만 간척지에서 야생조류의 집단 폐사가 발생했다. 그래서 국립수의과학검역원 조류질병과에서 현지 역학조사와 실험실 정밀검사를 통해 처음으로 폐사 원인을 가금콜레라로 진단 내렸다. 그 당시 본 질병으로 폐사한 야생조류는 대부분 오리류(가창오리, 청둥오리 등)였으며 총 13,000여수가 폐사 되었던 것으로 공식 집계되었다. 현재까지 국내에는 검역원 및 일선 시도 가축방역기관들의 철저한 방역조치와 함께 가금 사육농가의 위생적인 사양관리 등으로 닭이나 집오리에서의 가금콜레라는 발생되지 않고 있다.

• Sijohaknonchong
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• v.44
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• pp.165-195
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• 2016

This paper is compare to the enjoyment of way on Si-jo and Ga-sa in Lyric poetry. Si-jo and Ga-sa were created in Joseon Dynasty. Si-jo and Ga-sa is the Lyric poetry in traditional genre, representing Korea. These forms include the lyric genre but have a difference between the fixed verse and the long-poem in Joseon Dynasty. However, the two genres are the two genres had opened the possibility of communication from the very beginning in terms of gentry layer is the main writers. Joseon Dynasty those who enjoy the fixed verse and the long-poem, the literature of singing songs and reciting literature, in terms of the principle of metaphor and metonymy rhetoric will reflect the era of awareness and enjoyment of contemporary perception of reality characters. It can be said that performing Si-jo and Ga-sa of enjoyment fashion and work to compare with realistic about the versification principles but check ahead a lot of data, and add to the task of finding a logic that can explain clearly remain. This paper will have to complement the many points made in an attempt to unravel the complex issues in an integrated and comprehensive on-pronged approach and enjoyment of the fixed verse and long-poem Si-jo and Ga-sa and similar expressions are writing and testing the various parties of the enjoyment of culture in today's era of change in the 21st century can be the compass to navigate a new world culture.

• Proceedings of the Korean Information Science Society Conference
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• 2000.04b
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• pp.711-713
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• 2000

본 논문은 멀티미디어의 특성을 활용하여 초등학교 5학년의 음악과 전 영역을 멀티미디어 CAI로 설계하고 구현함으로써 음악에 대한 기초개념과 악곡에 대한 이해와 관심을높이고 학습자에 대한 개별학습과 교수-학습의 효율성을 높이고자 하였다. 이에 따라서 멀티미디어 CAI에 관한 이론을 탐색하고 CAI의 설계원리 및 교과의 특성을 고려하여 Hannafin와 Peck이 제안한 코스웨어 설계모형을 모델로 하였다. 설계모델에 따라 교육과정을 분석하여 멀티미디어 적용요소를 추출하였으며 저작환경에 적합한 스토리보드 형식을 작성하였다. CAI 코스웨어 설계모형에 준거하여 객체지향적이고 상호대화적인 접근을 가능하도록 멀티미디어 디렉터를 도구로 사용하였다. 본 CAI 프로그램은 멀티미디어(Text, Image, Graphic, animation, sound)를 활용하여 주의집중과 동기유발을 높혔고 특히 가창, 기악, 창작, 감상, 이론적 내용, 형성평가의 모든 음악적 영역을 교육과정의 내용에 일치시켜 충실한 교수-학습이 이루어지게 하여 모든 교사의 현장수업에 대한 부담감을 감소시켰다.

• Korean Journal of Heritage: History & Science
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• v.20
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• pp.239-278
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• 1987

보성군에서 수집한 민요들의 의식·노동·유희요(謠) 별(別)로 정리하였다. 의식요(儀式謠)로는 걸메당·상여·독경(讀經)소리가 실렸다. 전래(傳來) 혼인식(式)에 있어서의 가마소리인 걸메당소리는 전국의 몇 곳에서만이 가창자가 남아 있는 희요(稀謠)이다. 상여소리(처음에 운구 들어 울릴때의 긴소리, 길 갈 때의 가난보살과 어가리넘자, 비탈길 오를 때의 나무아미타불, 달구소리)는 전남지방에 널리 전파되어 있는 것과 동계(同系)이다. 노동요(謠)는 주로 농요(農謠)<광의(廣義)>가 수집되었다. 소동패전갈을 수록하였다. 모심기곡(曲)은 공(共)히 일반 농부가 쪼임에 비하여 모찌기와 논매기곡(曲)(<표2>참조)은 다양성을 띄웠다. 산아지로고나곡(曲)은 전(全) 면(面)에 두루 퍼져 있으며 논맬 때, 장원질소리, 소동패노래에도 쓰인다. 산떨이(올라간다)는 고흥군의 것과 같다. 터 다지는 노래로는 얼럴럴 상사도야를, 상량노래로는 어유아 상량이야를 부른다. 줄메고 나가는 노래의 받음구는 위야허허 또는 상사뒤여뒤여(회촌면)이다. 유희요(謠)는 남사당의 덜미 (꼭두각시극)노래인 떼루와 제나난실을 싣고 그 위에 치마·줌치·사위·강도령·이노래 등을 실었다.