• Korean Journal of Child Studies
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• v.21 no.2
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• pp.5-16
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• 2000

This study compared the meaning of words in the play songs of the Democratic Peoples Republic of Korea(DPRK). Sixteen children who had escaped from North Korea participated in this survey in Seoul by responding to a questionnaire. In the DPRK, children sing formal songs, used as instruments of ideological socialization. Among the songs were 4 composed prior to the creation of the DPRK in 1945. The other songs were composed after 1945 and exhibited ideological characteristics. Despite differences in sources, themes, and ideologies of play songs, some of them contained common themes, materials, rhythms, and typical Korean emotional structure. Considering the power of play songs in spreading cultural influence, they might be the key to resolving psychological conflicts of both Koreas after unification.

• (The) Research of the performance art and culture
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• no.22
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• pp.5-43
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• 2011

Before the Korean War, Korean mask dramas had been performed as parts of seasonal customs and had been passed down in connection with various seasonal events, such as village rites, tug of war, torch fighting, Jisinbabgi(stepping on evil spirits), Gilnori, and Sattonoreum. However, after the Korean War, the dramas were played independently regardless of those seasonal events; thus, they have lost their original functions and meanings. After the Korean War, the lion dance in the Bukcheong lion mask play included two lions (as opposed to one lion prior to the Korean War) and the Aeonesung and Sadang dances were added. The scene in which a lion eats a child changed to a lion eating a rabbit doll. Furthermore, whereas mask types used to be diverse, they are now standardized to one type of lion mask. In the Yangju Byulsandae-nori, eight monks and Waejangnye, Aesadang appeared in 'Aesadang Bubgonori', but now the Malddugi mask character is added. Current performances omit sexually suggestive scenes. In the pre-Korean War version of the old man and old woman act, the old man sang a song to the soul of the dead woman, but now a shaman appears and performs an exorcism. In the dialogues, vulgar and sexual statements have been shortened as many audience members are women and children. Regarding the appearance of the masks, the lotus leaf, the monk with Scabies, and sannim masks have been significantly changed. Bongsantalchum has also changed, especially in the old monk act. Previously, two Somu used to appear whereas now only one appears. The scene of the shoe seller's and the monkey's departure is also different. Furthermore, while the former masks once had big eye holes on each side of the nose, now the masks have smaller holes on the eyes.

• Journal of Music and Human Behavior
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• v.4 no.2
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• pp.41-65
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• 2007

This study examines children's responses on Audie music activity based on Gordon's Music Learning Method. Subjects of study were 3 five year old children(2 boys, 1 girl) in kindergarten. Data collection drew from participatory observation, researcher journal, the classroom teacher interview. Where more specific data were necessary, video and digital camera recorded. The data were described, analyzed, and interpreted. The main findings in this study are as follows : The children who participated in Audie music activity showed desirable changes in many ways. Their music listening attitude was the one that changed most remarkably. At the beginning activity application, the children were not naturally and could not listen attentively while researcher was singing song without words. Gradually children could listen attentively to the researcher's singing without words. Through the Audie music activity, the children began to think carefully the tone and rhythm of music and to express themselves freely and creatively. At the beginning activity application, the children who showed negative responses and blocked up activity became gradually able to show positive aptitude and to amuse. Also the children who showed passive attitude and no responses became gradually able to react spontaneously.

• Korean Journal of Childcare and Education
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• v.10 no.1
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• pp.95-109
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• 2014

The purpose of this study is to provide a reference for analyzing Korean traditional children's songs. A survey of opinions on the analysis criteria was conducted two times with 30 experts involved in early childhood education and its related field as the primary target. The SPSS 12.0 program was used to calculate the standard deviation and average. As a result of the expert opinion survey, 3 main categories (lyrics, music, and acting), 11 sub categories of the subsequent criteria for analysis and 33 sub-sub categories were finalized as items for analysis criteria.

• Journal of Music and Human Behavior
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• v.6 no.1
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• pp.55-80
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• 2009

The objective of this study was to improve the self-expression of children through Orff activities. In this study, three (3) children from D day care center in Seoul who demonstrated withdrawn behaviors were chosen as research subjects, based on a self-expression test score of 50 points. The activities were conducted for 6 weeks, totaling fourteen (14) sessions, with each session being scheduled for forty (40) minutes. Across 14 sessions, the researcher conducted, analyzed and compared the self-expression scale of subjects, measured during the third and the last session. The researcher then qualitatively analyzed verbal and non-verbal self-expression behaviors of subjects by video recording the session. The analysis results shown by the study are as follows. First, the results of a quantitative analysis of the self-expression scale showed significant changes in self expression. Furthermore, the results of a qualitative analysis of verbal self-expression showed positive changes in self-perception and an increase in feelings of independence and activity than that of initial sessions.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.479-493
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• 2019

The purpose of this study was to present a method of literacy education that would generate interest and enhance the effectiveness of literacy education from elderly literacy learners. For that end, the researcher interviewed and did participation observation with a total of 11 middle and old aged literacy teachers, operators, lifelong education teachers, and literacy students in North Chungcheong Province. According to the research, elderly literacy learners have a tendency to forget easily what they have learned and to learn properly through dictation, and have high level of competitive spirit, to make studying the top priority in their daily lives. Many playful activities for knowing meaning of writing, learning connected to real life, and dictating are effective in improving their memory and cognition. In addition, using familiar materials in everyday life, conducting role plays with comedies and poems in textbooks, utilizing large-picture fairytales, team-based games and activities, learning songs and instruments to play easily, performances and presentations on the stage, and field experiences in educational and cultural facilities can increase their interest and effectiveness in literacy. Several programmes such as presentations and joint events for sharing results, materials and materials costs, education and sharing of literacy skills for teachers at the school, annual operation of literacy education need to be supported to succeed literacy education in elderly learners. In conclusion, the research shows the need to increase literacy teachers' education, to use assistant teachers, to activate accreditation of literacy curriculum.

• Proceedings of the KSPS conference
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• 1997.07a
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• pp.257-257
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• 1997

우리 나라에서 초등영어 교육이 실시되는 연령층이 언어습득 분야에 있어 그렇게 일찍 언어학습을 시작하는 것이 학습효율성의 측면 또는 언어숙달도 측면에서 과연 이로운지에 관해서는 학자들간에 아직도 논쟁의 여지가 많다. 피아제의 인지발달론에 의하면, 의식적 조작이 잘 이루어지지 않는 분야가 바로 발 음분야이기 때문에, 따라서 의식적 조작이 이루어지는 '형식적 조작기'이전인 10-11세 정도에서부터 음성언어 중심의 외국어 교육을 실시하는 것이 바람직하다고 본다. 따라서 듣기와 말하기의 기능에 주안점을 둔 초등영어 교육은 감각과 놀이, 게임, 노래나 챈트 둥으로 흥미를 지속시키면서, 영어의 특질인 강세박자리듬언어(stress-timed rhythm language)의 특성올 초창기부터 듣기 및 말하기 훈련으로 지속적으로 연습시킬 필요가 있다고 본다. 또한 James Asher가 창안한 교수법인 천신반용볍(Total Physical Response)도 초기에 말하기에 대한 부담감 없이 흥미 있는 활동을 통하여 학습동기를 높여줄 수 있는 장점을 지니고 었다. 뿐만 아니라, 청취단계에 있어서 초기에는 귀로들은 외국어를 무조건 기억하지 않고 즉각적인 인지로 끌어내어, 점차 이와 같은 인지훈련을 반복함으로써 결국에는 기억에까지 도달하려 하는 초기학습에 중한 역할을 차지하는 학습법이다. 음성학적인 측면에서 초동영어 교육의 시작단계인 3학년에서는 특히 분절음소 차원에서 영어의 자,모음이 우리말의 자,모음과는 다르다는 차이점을 배우게 되고, 초분절 음소 중에서는 강세와 리듬의 차이를 자연스럽게 습득할 수 있도록 정확한 발음을 들려주어 정확한 발음을 해 낼 수 있도록 훈련하는 것이 중요하다고 하겠다. 하지만, 한편으로는 제6차 교육과정의 영어교육 목표가 언어의 '정확성'보다는 '유창성' 에 그 목표를 두고 있는 점을 감안한다면, 시작단계부터 반드시 정확한 발음을 지녀야 하는 가의 문제도 생각해 볼 필요가 있다. 경우에 따라서는, 정확한 발음은 그 언어에 대한 숙련도가 점차 높아짐에 따라 이와 병행하여 이루어지는 경우도 흔히 경험하는 일이기 때문이다. 결국 초등영어 교육과정에도 명시되어 있듯이 '...영어에 대한 친숙함과 자신감을 심어주고, 영어에 대한 흥미와 관심을 지속적으로 유지시키는 것이 중요하기' 때문에 무엇보다 중요한 측면은 흥미와 관심을 유지시키는 지적인 학습활동보다는 정의적인 학습활동의 전개가 필요하다고 하겠다.

• The Journal of the Korea Contents Association
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• v.12 no.11
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• pp.527-538
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• 2012

The purpose of this study was to suggest a new direction for the development of children's music education and to provide a basis for the development of improved music education program for children through the qualitative investigation of what 'musicing' means to children on the basis of musical experiences - singing, listening, body expression, learning rhythms and time, playing instruments - in the children's comprehensive musical activities. The study was carried out from September $5^{th}$, 2011 to November $25^{th}$, 2011, on 15 4-years-old children in Haetnim-class, in S nursery, in the city of D. The observations were recorded in the field and materialized, and the collected materials were categorized and analyzed. The results of the study suggests that 'doing music' to children means 'making movements,' 'sharing emotions through imitation,' 'fun activity that one can look forward to,' 'musical instruments as playthings,' and 'finding 'the true me'.

• Journal of Digital Convergence
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• v.20 no.5
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• pp.383-392
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• 2022

Mokpo is a port city in the southwest of the Korean Peninsula. The popular song "Tears of Mokpo" is a song planted in the hearts of the entire nation. In this content, there are Yudalsan Mountain and Samhakdo Island in Mokpo, and people vaguely know this area, but it is a familiar place. In particular, Samhakdo Island is a representative brand that symbolizes Mokpo and is a place with regional identity. Mokpo City is creating many facilities infrastructure to develop Samhakdo Island. It is a stepping stone for converting the local economy into a tourism industry. However, the development of performance contents for the soft power of local culture is weak. In this respect, this study presented performance contents for Samhakdo Island, Mokpo's representative brand, for local tourism attractiveness. The research progress is a study on planning and researching performance contents using the location of Samhakdo Island in Mokpo. First, the background of the theory of performance content planning based on local placeability was examined. Next, Samhakdo Island in Mokpo proposed planning for performance contents.

• (The) Research of the performance art and culture
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• no.36
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• pp.751-781
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• 2018

Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.