• 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.

• Korean Journal of Heritage: History & Science
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• v.22
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• pp.419-460
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• 1989

화순군을 구(旧)한말까지의 행정구역을 참고로 하여 동복방면, 화순방면, 능주방면으로 나눈다면 남면의 수몰지역은 동복면, 이서면, 북면과 더불어 동복방면에 든다. 동복방면은 섬진강유역의 문화권인데 비해 화순, 능주지방은 영산강유역의 문화권이 된다. 상여소리는 위의 세방면이 서로 큰 차이가 없다. 회닫는 소리가 경기도나 강원도에 비해 현저히 미발달(未發達)된 것은 몇 년 후에 보통 이장을 하는 관계로(토질상, 관습상) 봉분을 다시 파헤쳐야 하기 때문에 회닫을 필요성이 적은 탓으로 해석된다. 북면 원리엔 정월보름에 액막이로 하는 달구질소리가 있다. 모찌는 노래가 따로 없고, 잘 부르질 않는다. 바닥풀소리가 있다. 화순군의 대표적인 논매는 노래는 논매는 양산도이다. 수몰지역의 논매는 노래로는 양산도 및 산아지로고나, 사호소리, 세월이 가 있다. 산아지로고나는 섬진강유역의 대표적인 논매는 노래이며 사호소리는 능주지방 및 화순읍, 동면녹음에선 나오지 않았다. 반면에 세월이는 화순, 능주방면에서 나왔고 동복방면 녹음때엔 안나왔다. 화순군의 논매는 노래로는 그 밖에 아리시고나 마디여, 사하뒤여, 매화타령, 매화가, 노방가, 방애, 더덜기, 난초타령 등이 있다. 아리시고나 마디여는 영산강유역(함평 무안 나주 영암군)이 본고장인 것으로 보이는 논매는 노래로 화순군에서는 북면에서만 나왔다. 장원질 노래로는 사하디여, 풍년가, 두려소리, 뚜룸마, 일반농부가, 양산도, 산아지로고나, 성주, 덩기, 얼쭝덜쭝, 사호소리 등이 쓰인다. 줄메고가는소리로는 "위야허허"가 보성군과 마찬가지로 일반적이며 그 밖에 능주면 만인리의 어기야자자뒤여 가 있다. 기타의 노동요로는 주로 광의의 농요가 수집되었으며 작도소리, 나무내리는소리, 맷돌노래 등이 주목된다. 씨름판 노래로는 썸바타령, 개골, 논매는 양산도 곡(曲)등이 쓰인 것으로 나타났다. 동물요(動物謠)로 거무, 이, 천룡와깨비 등이 수집되었다. 그 밖에 판굿노래, 팽이치기, 연날리기, 등잔가세 등이 주목된다. 논매는 노래는 매화가를 제외하곤 거의가 멕이고 받는 가창방법이며 [표 3]의 46곡(曲)중 1/4 정도만 꺾는 음의 효과(効果)가 있는 곡이다. 솔(라)도레미'의 선법인 것은 44%에 달하며 그중 7할이 기음의 4도윗음인 도에서 종지하되 이를 퇴성한다. 기타에 대해서는 [표 3, 4, 5] 참조.

• (The) Research of the performance art and culture
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• no.33
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• pp.97-128
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• 2016

According to the findings of the study, the music composition of the mask play is deeply related to the main characteristics of the scene. The first scene of the play starts with the Byeoksa dance. This particular dance part represents the evil spirit expel ritual. The instrumental accompaniment like and are played for the dance. The last part of the play starts with the Halmi and Yeonggam scene. This scene is played in both the instrumental and vocal music. For the instrumental part , for the vocal part and songs are played. and songs are played on the part of the Halmi's funeral ceremony scene. The instrumental and are played in various scenes for the accompaniment of the dance part. The musical structure of the mask play is flexible. This kind of flexibility of scene structure mainly concerned with the way of musical composition. The main structure of the mask play can be classified into two main styles according to the allocation of the vocal music. In first style, the vocal music is evenly dispersed. In second style, the vocal parts are concentrated in the rear section. As I mentioned earlier, no logical association is found in the matter of the scene arrangement. A scene arrangement has a deep connection with the arrangement of the music in each scene. In conclusion, the mixed arrangement of the scene in mask play is mainly concerned with the matter of the music arrangement in order to maintain the tension of the drama.

• The Journal of the Acoustical Society of Korea
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• v.28 no.4
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• pp.343-355
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• 2009

In order to restore the identity of sound environment and expand the sound culture of a region, the purpose of this study are to excavate the resources of soundscape and find out the plans for the preservation and promotion of soundscape resources peculiar to the region. For this purpose, this research is conducted through an interview survey of residents and an observation survey using listening walk in Hongdo, one of the southwesten island of Korea. The results of survey confirm that there are so many sounds to hear around Hongdo island, those are, natural sounds such as the song of the birds, the roar of the waves, the whistling sounds, the shriek of the seagulls, and the pebbles sounds washed away by the waves, and artificial sounds such as the steam-whistle signals, the ship's broadcasts, the voice of tourists, the sounds of church bells, lighthouse sirens etc. The results suggest that it is necessary to consider several ways for restoration of an unique soundscape in Hongdo island, those are, improvement for efficient management of a ship's broadcasts in public areas, removal of a ferry in Hongdo swimming beach, management of Dangsanje (a religious service), preservation of a lighthouse siren and a foghorn, restoration and improvement of underground stream, management and control of public fish market, restoration of brooklet, management of cooperative system for a fish market, restoration of PoongO-Gut (a ritual for a large harvest) and a skate festival, management of a Hongdo sports meeting, sound quality modification of a boat whistle, restoration of orientalia such as a funeral bier, ecosystem preservation activity of the shore and ocean, and promotion of amenity for fascination and vitality in a rural community. Also, a sound map is drawn up for many tourists so as to realize the importance of sound environment and identity of soundscape and to gain their experience at first hand in Hongdo island.

• Journal of Korean Medical classics
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• v.19 no.2 s.33
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• pp.179-195
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• 2006

의약학적존재화발전인소유내재인소(?約學的存在和發展因素有內在因素), 내재인소리유학문본신적특수이론계통(內在因素里有學問本身的特殊理論系統), 함유혼풍부적과학의의(涵有婚豊富的科學意義), 임상치료효과(臨床治療效果), 병인적신뢰등(病人的信賴等). 외재인소리유정치(外在因素里有政治), 정책(政策), 경제(經濟), 문화방면등등(文化方面等等). 저반인소중의학정책적영향시최직접화결정성적(著般因素中?學政策的影向是最直接和決定性的). 병차의학정책적직접인소리유의약방면유관적제도(幷且?學政策的直接因素里有?約方面有?的制度), 정책(政策), 법평등(法平等), 간접인소리유국가전장제도(間接因素里有國家典章制度), 국가방침화정책등(國歌方針和政策等). 재고대봉건사회상정책적개념시국가(在古代封建社會上政策的槪念是國家), 정당재특정역사시기상위료실현노선화임무(政?在特定歷史時期上爲了悉現路善和任務), 규정적행동준칙(規定的行動准則), 비여선황제적소(比如宣皇帝的沼), 령(領), 칙(勅), 유급정부적각중정령등(愉及政府的各?政領等). 본논문시대한한의학원전학회지상기고적(本論文是大韓韓?學原典學會指上寄稿的)[관우진한시기의정사연구(?于秦漢時基?政史硏究)]상여천명(上如闡明), 통과화중국량준교수공동연구적연속적연구결과(通過和中國梁畯敎授共同硏究的連續的硏究結果). 지우위진남북조시기적의정사(至于魏晉南北朝試期的?政史), 논자관우위진남북조정치개요(?者?于魏晉南北朝政治槪要), 의약정책(?約政策), 의정조직적초보구조(?政組織的初步柩?), 의약정책화의약발전관계(?約政策和?約發展關系), 관우의정평가와형성원인등분성오개방면후(?于?政?伽和形成原因等分成五介方面后), 진행연구병정리보고기결과(進行硏究幷整理報告基結果).

• (The) Research of the performance art and culture
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• no.25
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• pp.253-289
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• 2012

Dasiraegi is a traditional funeral rite performance of Jindo located in the South Jeolla Province of South Korea. With its unique stylistic structure including various dances, songs and witty dialogues, and a storyline depicting the birth of a new life in the wake of death, embodying the Buddhism belief that life and death is interconnected; it attracted great interest from performance organizers and performers who were desperately seeking new contents that can be put on stage as a performance. It is needless to say previous research on Dasiraegi had been most valuable in its recreation as it analyzed the performance from a wide range of perspectives. Despite its contributions, the previous researches were mainly academic focusing on: the symbolic meanings of the performance, basic introduction to the components of the performance such as script, lyrics, witty dialogue, appearance (costume and make-up), stage properties, rhythm, dance and etc., lacking accurate representation of the most crucial element of the performance which is sori (song). For this reason, the study analyzes the music of Dasiraegi and presents its musical characteristics along with its scores to provide practical support for performers who are active in the field. Out of all the numbers in Dasiraegi, this study analyzed all of Geosa-nori and Sadang-nori, the funeral dirge (mourning chant) sung as the performers come on stage and Gasangjae-nori, because among the five proceedings of the funeral rite they were the most commonly performed. There are a plethora of performance recordings to choose from, however, this study chose Jindo Dasiraegi, an album released by E&E Media. The album offers high quality recordings of performances, but more importantly, it is easy to obtain and utilize for performers who want to learn the Dasiraegi based on the script provided in this study. The musical analysis discovered a number of interesting findings. Firstly, most of the songs in Dasiraegi use a typical Yukjabaegi-tori which applies the Mi scale frequently containing cut-off (breaking) sounds. Although, Southern Kyoung-tori which applies the Sol scale was used, it was only in limited parts and was musically incomplete. Secondly, there was no musical affinity between Ssitgim-gut and Dasiraegi albeit both are for funeral rites. The fundamental difference in character and function of Ssitgim-gut and Dasiraegi may be the reason behind this lack of affinity, as Ssitgim-gut is sung to guide the deceased to heaven by comforting him/her, whereas, Dasiaregi is sung to reinvigorate the lives of the living. Lastly, traces of musical grammar found in Pansori are present in the earlier part of Dasiraegi. This may be attributed to the master artist (Designee of Important Intangible Cultural Heritage), who was instrumental in the restoration and hand-down of Dasiaregi, and his experience in a Changgeuk company. The performer's experience with Changgeuk may have induced the alterations in Dasiraegi, causing it to deviate from its original form. On the other hand, it expanded the performative bais by enhancing the performance aspect of Dasiraegi allowing it to be utilized as contents for Performing Arts. It would be meaningful to see this study utilized to benefit future performance artists, taking Dasiraegi as their inspiration, which overcomes the loss of death and invigorates the vibrancy of life.

• (The) Research of the performance art and culture
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• no.18
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• pp.171-199
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• 2009

This paper started with my effort to find connections between Empty Hands, which was put on the stage at the Mime House in Chuncheon, Gangwon Province, and Jindo Ssitgimgut. The mimist Yu Jin-gyu(58) adopted so many elements from Jindo Ssitgimgut for his performance that I felt that it was the pantomime version of Jindo Ssitgimgut. Of course, the pantomime took the form of gut based on shamanism in terms of story. Watching the pantomime, I once again saw the possibility of developing Korea's cultural archetypes into cultural contents. Helen Lannaghan, the art director of London International Mime Festival of 2005, saw his performance at the conference of Chuncheon International Mime Festival and invited it to the London International Mime Festival praising that it's full of Korean elements, minimalist, and modern at the same time. In fact, Empty Hands, which boasts great harmony among the Korean objet, Oriental thoughts, Samulnori, and Western contemporary mime, was invited to many foreign festivals including the Mimos International Mime Festival in 2000, Polish International Mime Festival in 2001, Mongol's International Mime Festival in 2002, and Belgium's International Mime Festival in 2003. In addition, it's recognized for its artistic values and had a chance to shine in another international setting at the London International Mime Festival whose reputations have been worldwide. All those achievements are the result of Yu's constant effort to reflect Korean elements through his movements. What I saw in his pantomime was the possibility that plays based on Korea's cultural archetypes such as Jindo Ssitgimgut could play an important role as a global content of performance culture. Pursuing the possibility further, I analyzed the factors that brought the worldwide recognition to Empty Hands and searched for the ways to create solid storytelling with Jindo Ssitgimgut and make a huge hit on the international stage. It should be noted once more that the pantomime Empty Hands launched Korea's unique performance culture to the world stage by making great use of the traditional Korean cultural contents.