• 대학교육
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• s.25
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• pp.109-114
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• 1987

• 대학교육
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• s.23
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• pp.125-128
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• 1986

• 대학교육
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• s.19
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• pp.136-141
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• 1986

• 대학교육
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• s.113
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• pp.84-89
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• 2001

• Korean Journal of Child Education & Care
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• v.18 no.3
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• pp.123-140
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• 2018

Objective: This research was designed to investigate how young children's musical ability and interest in Korean music and their playfulness were affected by musical play activities based on traditional children's songs. Methods: In this study, 28 five-year-old children from W childcare center in W city were divided into an experimental and a comparison group. The experimental group then took part in musical play activities based on traditional children's songs while the comparison group, even though they sang the same songs, took part in musical activities based on themes in the 'Nuri curriculum'. The average and standard deviations of the children's musical ability and interest in Korean music and their playfulness were calculated from the collected data, and ANCOVA was computed using the pre-test scores of each subject as the covariate. Results: The results showed that taking part in musical play activities based on traditional children's songs positively affected young children's musical ability and interest in Korean music and their playfulness. Conclusion/Implications: Therefore, it is suggested that such activities could be useful components for effective Korean music programs in the field of early childhood education.

• (The) Research of the performance art and culture
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• no.36
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• pp.137-167
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• 2018

As Gwangju Gwonbeon(meaning of a gisaeng call-office) was representative Gwonbeon in Honam area, it educated gugak(Korean traditional music) from the period of Japanese occupation to 1951, the year of foundation of Gwangju gugak center. As Gwangju Gwonbeon's later self, Gwangju gugak center was also an institution that local influentials interested in the education of gugak of Gwangju region cooperated and built. Therefore, Gwangju Gwonbeon should be considered when premodern and modern history of gugak in Gwangju is mentioned. However, the studies of Gwangju Gwonbeon as well as related studies are still thin. Previous researches related to Gwangju Gwonbeon are mostly focused on the operation and dance of Gwonbeon. However, Gwangju was a region where Pansori was invigorated. According to "Joseonmiinbogam", a record of gisaeng(Korean geisha) in 1918, gisaengs of Gwangju Gwonbeon were specialized in Pansori as compared with those of other regions. In addition, today, there are many master singers of Pansori heard by people, among persons who were educated and a lecturer in Gwangju Gwonbeon; therefore, their oral statement is important materials for understanding transmission of Pansori in Gwangju. Nevertheless, the relationship between Gwangju Gwonbeon and Pansori was not studied yet. Especially, oral statement of master singers of Pansori related to Gwangju Gwonbeon was collected partly, as a result, it is not recognized as valuable research materials. Foundation of Gwangju Gwonbeon and Gwangju gugak center became an important basis for education of Pansori as early private institute educating Korean classical musicians in Gwangju. And it is also meaningful as the trigger that gugak in Gwangju was begun in earnest. Therefore, the purpose of this study is reconstruct activities of master singers who worked in Gwangju Gwonbeon and Gwangju gugak center and is to examine transmission and value of Pansori in Gwangju from the period of Japanese occupation to 1973, collecting oral statement of master singers related to Gwangju Gwonbeon. Finally, this study might be helpful for expanding the interest in Pansori and activating related studies.

• Journal of Gifted/Talented Education
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• v.25 no.2
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• pp.237-259
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• 2015

Teachers in music(including Korean traditional music) gifted education are a significant variable in both identifying the giftedness of students and a successful instruction. The purpose of this study is to develop the Scale for Screening the Qualified Teachers for the Gifted in Korean traditional and western Music(SSQTGM), and to examine the validity and reliability of the SSQTGM. To achieve this purpose, this study administered the SSQTGM to 175 teachers of gifted students aged between 13 and 15 in middle schools for the arts. To validate the SSQTGM, I analyzed the criteria of the SSQTGM, and conducted an exploratory and confirmative factor analysis. I also examined an internal consistency. As a result of the exploratory factor analysis, I finally collected 41 items of the SSQTGM. Futhermore, I could identify psychological constructs of the qualified teachers for the gifted in Korean traditional and western music. In consequence of the confirmative factor analysis, the model provided a good fit to observe data. As a result of the reliability analysis, the internal consistency of knowledge in the music(korean traditional music) verified cronbach's ${\alpha}=.937$, and the expertise of the class management and instruction verified cronbach's ${\alpha}=.942$. Also, the teachers' aptitude and personality verified cronbach's ${\alpha}=.963$. This result of the construct validation reflects the fact that the SSQTGM is an available scale that can be applied in gifted education field instantly.

• 한국정보교육학회:학술대회논문집
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• 2010.08a
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• pp.221-226
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• 2010

Culture is like living organisms based on local and history. Therefore, we don't understand the whole phase of the culture if we neglect the information of the time and space. In this paper, we describe a preliminary study building of a 3D electronic cultural atlas about the national education center for Korean traditional music.

• Journal of Gifted/Talented Education
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• v.23 no.1
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• pp.1-24
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• 2013

The OSTG (Observation Scale for Teachers of the Gifted in Korean Traditional and Western Music) is one of the tools for screening of the Gifted in Korean traditional and Western music. So the validity and reliability of the OSTG-2 has an influence on securing validity of the whole identification process. The purpose of this study is to examine the validity and reliability of the OSTG-2 that input screening processing, and to suggest systematization of identification processing for the Gifted in Korean traditional and Western Music. For the achievement of this purpose, this study administered the OSTG-2 to 195 teachers of gifted students aged between 13 and 16 in the middle or high school for the arts. To validate the OSTG-2, I analyzed items of the OSTG-2, and conducted the exploratory and confirmative factor analysis. I also examined the internal consistency. As a result of the exploratory factor analysis, I collected 22 items of the OSTG-2 finally. Furthermore, I could identify psychological construct of the Gifted in Korean traditional and Western Music. The consequence of confirmative factor analysis, the model provided good fit to observed data. As a result of reliability analysis, the internal consistency of musicality verified cronbach' ${\alpha}$=.852, and the creativity verified cronbach' ${\alpha}$=.894, the task commitment verified cronbach' ${\alpha}$=.924. This result of validity study reflects the fact that the OSTG-2 is a valid scale and is able to input to gifted educational field instantly.

• The Journal of the Acoustical Society of Korea
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• v.25 no.3
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• pp.121-128
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• 2006

Korean pyeongyeong, a set of sixteen L-shape chime stones covering one and one third octaves, is a standard instrument in the Korean traditional court music. We analyze the vibrational mode frequencies in a pyeongyeong replica which is played at the National Center for Korean Traditional Performance Arts and pyeongyeong remains which are exhibited at King Sejong Memorial Museum. The modal shapes on the Whangjong, the 1st stone and Cheonghyurjong, the 16th stone mapped by scanning accelerometer, TV holography and STAR system. The nominal frequencies in pyeongyeong replica at the National Center for Korean Traditional Performance Arts increase linearly with the thickness of the stones and the tones are tuned in line with the musical scale of Sambunsonik. The sexagenary cycles on the pyeongyeong remains at King Sejong Memorial. which show the Year of product indirectly, are different each other and the tones are not tuned in scale. The relative frequency ratios of each modes on stones differ more than just-noticeable differences from those on the pyeongyeong replica. Modal shapes are same for the two stones regardless of the thickness.