• Sijohaknonchong
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• v.42
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• pp.7-28
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• 2015

This article defines sijo's musicality in two ways and verifies how musicality is shown in modern sijo with some examples. First, the first metre of a song's fourth part, that is, the sijo's jongjang, should include a reverse of its poetic image. A song consists of five parts. Each part is sung as a part of the song, that is, the sijo's dimetre, trimetre, or tetrametre, but its fourth part is sung as the monometre which is the first metre of its jongjang. This is because the first metre of a sijo's jongjang forms the axis of the reverse in its poetic image, and when this works properly, it can maintain musicality as a sijo. Second, a sijo's tetrametre and sijo-chang's gak should correspond as the same value along with the completion of its meaning. If a sijo does not keep the metre, each part's completion of meaning and also the sijo-chang's gak become problematic, so it is impossible to perform sijo-chang. Only when each part's completion of meaning and the gak of the metre correspond to each other as the same value, the sijo can maintain its musicality. Next, the study verifies how musicality is shown in modern sijo. This was examined through the examples of gyeol-metre and yangjang-sijo in dan-sijo that cannot form any tongsa madi, arrangement of syllable units beyond metres, or the examples of loose reverse of meaning in a transitional phrase. The two kinds of musicality presented by this author have already been proved with old sijo. However, modern sijo has been created mainly centering around its image, so such musicality has been ignored and sijo's identity has been damaged seriously. In sijo, musicality gives life. If modern sijo is created mainly around its image, it can never be called as sijo unless it has musicality. Although modern sijo is not performed as music, it should be equipped with the form to be performed as a chang. This is how sijo can maintain its musicality. It is thought that now is the time to recognize modern sijo as the matter of communication between sijo-chang and sijo literature, not just as the combination of sijo-chang and sijo literature.

• Journal of the Korea Convergence Society
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• v.8 no.8
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• pp.225-230
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• 2017

The Sijo provides dynamic rated therapeutic activities in our life. This study aims to search for the literary therapeutic function secreted from the Sijo that ends with a noun. As a result, the noun used at the final sentence secretes a predicative function. This kind of Sijo functions as twelve sound steps, even though it is condensed of just eleven sound steps with one sound step omitted. This functional secretion of Sijo is therapeutic predicate concerned with encoding of literary therapy. Thus it become possible to activate the therapeutic encoding in Sijo or a language by uttering only noun, instead of the predicate. That's because the noun in the last sentence of Sijo permeated in the human body and is done subject, and neuron of the body becomes a predicate, so that the Sijo's subject and the neuron's predicate are fused into a sentence. During the course the human body seems to recognize that the neuron's nucleus analyzes the information of the noun and makes a new sentence. This recognition might also be regarded as a process of encoding that has therapeutic functions secreted from the human body.

• Sijohaknonchong
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• v.30
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• pp.147-164
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• 2009

The conclusion of this paper is as follows. First, the authentic syllable count of sijo can be summed up as following: Second, the structure of the statement can be summed up as following: 1) Each statement extremely excludes the use of modifiers to clarify the development of the logic. 2) The meaning of each of the three statement, chojang (the 1st statement), jungjang (the middle statement) and jongjang (the last statement), is connected to the previous one closely, so the text as a whole is perfect. 3) The last statement identifies itself as the conversion or conclusion of the whole text. Therefore, the last statement should begin with a connective adverb like 'Therefore' or 'Then'. But in ancient sijo works, this sort of connected adverb is normally omitted. 4) Each statement of sijo is composed of one of the 4 structures suggested below: a) subjective phrase + predicative phrase b) the formal clause + the latter clause c) location-indicating phrase + sentence d) objective phrase + predicative phrase Since the text of a sijo work is formed like this, sijo is said to be composed of three jang (statement) & six gu (phrase), which is the very feature that proves that sijo is a fixed form of verse.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2012.10a
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• pp.352-353
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• 2012

• Sijohaknonchong
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• v.44
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• pp.165-195
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• 2016

This paper is compare to the enjoyment of way on Si-jo and Ga-sa in Lyric poetry. Si-jo and Ga-sa were created in Joseon Dynasty. Si-jo and Ga-sa is the Lyric poetry in traditional genre, representing Korea. These forms include the lyric genre but have a difference between the fixed verse and the long-poem in Joseon Dynasty. However, the two genres are the two genres had opened the possibility of communication from the very beginning in terms of gentry layer is the main writers. Joseon Dynasty those who enjoy the fixed verse and the long-poem, the literature of singing songs and reciting literature, in terms of the principle of metaphor and metonymy rhetoric will reflect the era of awareness and enjoyment of contemporary perception of reality characters. It can be said that performing Si-jo and Ga-sa of enjoyment fashion and work to compare with realistic about the versification principles but check ahead a lot of data, and add to the task of finding a logic that can explain clearly remain. This paper will have to complement the many points made in an attempt to unravel the complex issues in an integrated and comprehensive on-pronged approach and enjoyment of the fixed verse and long-poem Si-jo and Ga-sa and similar expressions are writing and testing the various parties of the enjoyment of culture in today's era of change in the 21st century can be the compass to navigate a new world culture.

• Proceedings of the KSPS conference
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• 2002.11a
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• pp.157-160
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• 2002

This study aims to define the isochronism of English feet. To assess the average value of moras of a foot, the study is, first, to set up a way of counting the number of the moras on the extrametricality with some modifications. Secondly, with the measurement of the average duration of feet of Shakespeare's 120 sonnets through Praat (version 4.030, 2002), it clarifies the foot isochronism in English. With the two ways of measuring the isochronism, it clarifies the fact the foot isochronism permits the difference scope of $2.2{\mu}'s$ (moras) to $1.8{\mu}'s$, that is, $22{\mu}'s$ to $18{\mu}'s$ per line, while the acoustic assessment shows the isochronically congnitive gap of 302-447msec. per foot, or 4,461msec. to 3,019msec. per line in case of iambic pentameter in English poetry.

• Proceedings of the KSPS conference
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• 2004.05a
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• pp.257-260
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• 2004

This study aims to define the isochronism of English feet. 275 feet, which consist of 66 lines of 13 poems written by 12 modem poets(The Poet Speaks, 1982), were used for analysis of durational measurement. To assess the average value of a foot, the study is, first, to set up a way of measuring the duration of each foot on its types in English meter. Secondly, with the measurement of the average duration of feet in modern poets' English poetries through Praat (version 4.119, 2003), it clarifies the foot isochronism in the fixed meter. With the two ways of measuring the isochronism, it clarifies the fact the foot isochronism permits the difference scope of the perceptive gap of 555.4-974.5msec. per foot in case of iambic meters in English poetry.

• MALSORI
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• no.25_26
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• pp.38-51
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• 1993

Korean phonology has not recognised metrical foot as a phonological unit to account for certain phonological processes. This paper, however, suggests that an optional h-deletion process in Korean should require the notion of metrical foot as an independent phonological domain. The previous analyses rely on the notion of speech speed to explain optional h-deletion : i. e. an intervocalic h is deleted in fast speech, but in slow speech it remains. This paper claims that the notion of speech speed should be reinterpreted in terms of metrical foot : i.e. foot-internal t is deleted, but foot-initial h remains. Such analysis provides evidence that metrical foot constitutes a phonological unit in Korean phonology. With the notion of metrical foot, it enables us to achieve more detailed and accurate analysis of the optional h-deletion process in Korean.

• Proceedings of the Acoustical Society of Korea Conference
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• spring
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• pp.305-308
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• 2000

본 논문에서는 한국어에 나타난 외래어 중에서 외국어(영어/독일어)의 $[\int]$음이 어떻게 인식되고 해석되었는지를 살펴보았다. 특히 본 논문에서는 $[\int]$음의 영어와 독일어 발음과 한국어의 대응되는 분절음이 일대일 대응을 이루고 있지 못하다는 것을 보이고 이런 대응관계를 설명하기 위해 어떤 정보가 필요한지에 대해 살펴보았다. 즉, 독일어와 영어에서 음절의 말음으로 쓰인$[\int]$음이 한국어에서는 [쉬/시]로 인식되는데 반해 본토어에서 $[\int]$음이 음절초음의 일부로 사용된 경우에는 한국어의 외래어에서 (슈)로 화자에게 인식되고 또 문자로 표현된다 따라서 본 논문에서는 음절초음의 일부로 나타나는 외국어의 $[\int]$음과 음절말음으로 나타나는 외국어 $[\int]$음의 음성학적 기호를 분석해보고 한국어에서 서로 다른 표면형을 형성하는 이유가 본토어의 (음절 초음/말음이라는) 음운론적 특성에 기인하는 것인지 혹은 현재까지 우리가 알고 있지 못했던 $[\int]$음의 발음 위치에 따른, 즉 동시조음(coarticulation) 현상 때문에 생긴 변이음 때문인지에 대한 규명을 시도하였다. 외국어 화자의 발성실험을 통해, 한국어에서 /쉬/로 인식되는 독일어와 영어의 $/\int/$음은 /슈/로 인식되는 $/\int/$음보다 마찰소음의 peak frequency가 높거나 지속시간이 길게 나타났다 이런 결과를 근거로 영어와 독일어의 $/\int/$ 음이 한국어의 /쉬/음과 /슈/음으로 구분될 때 사용되는 음성자질은 크게 2가지, 즉 마찰소음의 peak frequency와 지속시간이며, 둘 중 한가지만 있어도 구분은 가능하나 이 2가지가 동시에 존재할 때 /쉬/음과 /슈/음의 구분이 현저히 용이해진다는 가설을 세워보았다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.3
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• pp.114-121
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• 2013

Gwaneumhyeonsanggi is a writing of praise of the incarnated White-robed Gwanseumbosal by Choi Hang which King Sejo witnessed at the top of Damhwajeon during his visit to Sangwonsa Temple. In Gwaneumhyeonsanggi, White-robed Gwaneumhwahyeondo drawn by a painter is attached, which demonstrate the feature of Sangwonsa temple in the early Joseon period. This study aimed to examine the landscape features of Sangwonsa in the early Joseon period by records and picture in Gwaneumhyeonsanggi. As a result, it was determined that the building display, spatial structure, building type and landscape arrangement seemed to be unique compared with other temples. In particular, the treatment of scenic stone(景石) is important in terms of landscape because it complements existing ideas and concepts that the temple landscape was mainly made of water as the main resources. Also the trees around the temple shown in the picture in can be compared with the current state of the data is valuable.