• (The) Research of the performance art and culture
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• no.32
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• pp.399-426
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• 2016

Sanjo has a quintessential value not only because of its musical depth but also because of its style of music that best expresses Korean sentiment. However, new values are being established from different viewpoints as time passes so Sanjo's values need a modification in order to encompass a contemporary value that is required and accepted by modern society. In this context, while focusing on communication with the public, I contemplated the developmental direction of Sanjo in five perspectives; The Social realization of value, The Experimental and social transformation, The Social diffusion of creation, The Leap of fusion and harmony and finally The Socialization of contents. In the perspective of 'social realization of value', Sanjo refers to creative activity as a new 'duneum' which allows traditional and creative activity to deviate freely while still being under the Sanjo guideline. Either way, it has a periodical value because new forms with new rhythms are the only ways to communicate with the modern public. When these values can be understood by modern society can Sanjo be revived and be acknowledged as an infinite value. Secondly as an experiment and social transformation, there is a transformation of musical instruments in the 21th century. Our musical instruments should be transformed to effectively perform our music rather than to perform Western music. Third, social diffusion of creation should be the 'new Sanjo festival in 21th century' which can facilitate the communication with the public. Fourth, regarding leap of fusion and harmony, I suggest a performing culture consisting of 'Storytelling Sanjo' and 'Media Art' which will ceaselessly evolve Sanjo performance as a medium to communicate with the public. Finally, in regards to the socialization of contents, I emphasize that Sanjo should have contents of mass media as a way of means to help utilize mass media.

• The Journal of the Acoustical Society of Korea
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• v.26 no.7
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• pp.343-352
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• 2007

The present study aims to investigate the design standard for acoustic criteria of Korean traditional music which could be used for the design of Korean traditional music halls. In order to do this, subjective listening tests were undertaken to musicians using auralized sounds which were convolved with the impulse response of traditional instruments recorded in an anechoic chamber. 94 pairs of sound were made which have different value of acoustic parameters including RT, BR, Brilliance, G, C80, ITDG, IACC. A paired comparison method(PCM) was used to analyze the results from the subjective listening tests. The results show that the preference of acoustic criteria for the Korean traditional music is far different from those of western music. As a result, specific range of acoustic criteria were suggested for the appropriate acoustic conditions of Korean traditional music. Also, a guideline of the acoustic design of halls for performing the Korean traditional music was suggested which could be used as a basic reference in the future works.