• Korean Architects
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• no.1 s.405
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• pp.88-96
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• 2003

• The Journal of the Acoustical Society of Korea
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• v.23 no.2
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• pp.146-161
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• 2004

There have been always some difficulties in target setting and conditioning of acoustic performances of the Korean traditional music hall due mainly to the lack of the information on the sound radiation characteristics of Korean musical sources. In this study, the radiation characteristics of four typical Korean traditional musical sources were investigated in precision and their usage was demonstrated: The selected musical sources were Gayageum (string), Daegeum (woodwind), Jango (drum), and Pansori Chang (vocal performance). Each sound source was located at the center of a semi-anechoic chamber and the directivity was determined by the measured sound pressure levels in every 10° angular position, for both vertical and horizontal directions. The directivity pattern of Gayageum varies from a uniform to a complex pattern having many side lobes with the increase of frequency. The main radiation of Daegeum is toward the upward direction. The directivity pattern of Jango is clearly a side-oriented one and the left direction intensity is sharper than its right side at low frequencies. For the Chang, the directivity pattern change from a uniform pattern to a frontally directed one as the frequency goes high. Measured directional and spectral characteristics of traditional Korean music sources were implemented into the computation of architectural acoustic measures for the Busan National Korean Traditional Music Hall which is under construction. Parameters such as RT, SPL, C80, IE, STI were calculated at two receiver positions by using a ray tracing technique. Significant differences in the acoustic measures at receiver positions were observed between the results in using the omni-directional source and the directional one. It is thought that the suggested source data and design method can be used as a basic reference in the future acoustic design of performance halls for the Korean traditional music.

• Journal of the Korea Safety Management & Science
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• v.26 no.1
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• pp.63-74
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• 2024

The objectives of this study is to classify evacuation types, derive the characteristics of 4 types, develop and discover evacuation routes within the performance hall space, and present the statistical classification results of the evacuation classification model by classification type. To achieve this purpose, the characteristics of each evacuation type's four types are applied through a network reliability analysis method and utilized for institutional improvement and policy. This study applies for the building law, evacuation and relief safety standards when establishing a performance hall safety management plan, and reflects it in safety-related laws, safety standards, and policy systems. Statistical data by evacuation type were analyzed, and measurement characteristics were compared and analyzed by evacuation types. Evaluate the morphological similarity and reliability of evacuation types according to door width and passage length and propose the install position of evacuation guidance sign boards. The results of this study are expected to be used as basic data to provide operation strategies for safety facility evacuation information sign boards according to evacuation route classification types when taking a safety management plan. The operation strategy for the evacuation sign boards installation that integrates employee guidance and safety training is applied to the performance hall safety management plan. It will contribute to establishing an operational strategy for performance space safety when constructing performance facilities in the future.

• (The) Research of the performance art and culture
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• no.37
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• pp.157-186
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• 2018

Ulsan Soeburi song was reenacted in the 1980s based on the testimony and songs of late Choi Jae man (1987 death), the last blacksmith of the iron production plant at Dalcheon dong, Ulsan in August 1981. The purpose of this study is to analyze Soeburi song from the musical perspective based on 13 kinds of data including video in 1981, and confirm the changing patterns in the tradition process. The derived results are summarized as follows. In the results of examining Soeburi Song data in 2017, the percussion instruments consist of kkwaenggwari 2 (leading small gong 1, follow small gong 1), jing 2 (large gong 2), buk 4 (drum 4), janggu 4 (double headed drum 4), taepyongso 1 (Korean shawm 1), and Jangdan (rhythm) consists of five such as Jilgut, Jajinmori, Dadeuraegi, Deotbaegi, Jajin Deotbaegi. The vocal songs are sung accompanied by the Deotbaegi Jajin Deotbaegi (beat) of quarter small triplet time, or without accompaniment. The scale is mostly Mi La do's third note or Mi La do re's fourth note, and the range does not exceed one octave. All the cadence tones are the same as La. From the results of observing Soeburi song performance until today after the excavation in 1981, it is found that there are four major changes. First, the composition of the music is differentiated into 'long Jajin (slow fast)', and , , and are added. Second, the singing method is based on 'single cantor + multi post singers' since 1980's reenactment, and a single post singer was also specified from time to time. In addition, , which was performed in 2013, became the foundation of . Third, a melodic change of was observed. All beat structures are quarter small triplet time, but the speed gets slow, Mi La do's three notes are skeletonized to be corrected with high re and low sol, and then the characteristics of Menari tori (the mode appeared in the eastern province of the Korean peninsula) are to be clear. Lastly, the four percussion instruments such as kkwaenggwari, jing, janggu, and buk are frequently used, and depending on the performance, sogo (hand drum), taepyongso, yoryeong (bell) are also added. Jangdan played Jajinmori, Dadeuraegi, Deotbaegi and Jajin Deotbaegi from the beginning, and thereafter, the Jilgut Jangdan was added. Through these results as above, it is confirmed that at the time of the first excavation, a simple form of such as has been changed into a male labor song, the purpose of which has changed, and that the playability has become stronger and changed into a performing arts.