• Journal of Korea Entertainment Industry Association
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• v.14 no.2
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• pp.85-95
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• 2020

An Instruments are not only for musical usage, but also for historical, social and cultural contexts. The yanggeum instrument began to be played in Persia before the 10th century and is played in various parts of the world in the 21st century. It has been handed over for many years and played creatively beyond the boundaries of the region. In this paper, we will learn about the meaning of Korean traditional yanggeum, which preserves its original shape without any change in form or technique, through a method of musical iconography. As a method of musical Iconography for the musical instruments, we examined the data on the drawings and compared it with the literature, focusing on the origin, form and performance of the instruments. I hope that this study will not only provide a new perspective on instrument research, but also help understand the historical, social and cultural implications of the instrument. It is hoped that research on musical instruments will be done in many different ways and that the realm of musical science will be approached widely.

• 전기의세계
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• v.46 no.2
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• pp.5-12
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• 1997

전기학회지의 전력전자 특집호에 게재할 원고로 우리나라를 중심으로 하는 "전력전자분야의 발전사"라는 제목이 집필을 부탁받았다. 참으로 힘든 과제이다. 한 나라의 문학이니 음악의 발전사는 그나마 그 나라의 고유전통이 있어 어지간히 줄거리를 잡을 수 있다고 본다. 그러나 개발도상국가에서의 과학기술 발전은 선진국의 후진에 머물러 있기 마련이고 결국 선진국의 발전사에 시간의 지연을 추가하면 비슷한 패턴이 될 것이라고 생각된다. 필자는 미비한 자료를 갖추고 교수생활과 학회 회원을 지내는 동안의 기억을 더듬어서 다음과 같은 내용으로 엮어 보았다. 처음에 방전관시대에서부터 Thyristor 발명까지의 Power Electronics 탄생을 위시하여 전력전자의 공학과 산업이 어떻게 한국에 정착했는가를 기술하였다. 이어서 전기학회에서의 전력전자의 역할과 국제교류의 단서가 되는 학술회의의 개최가 전력전자분야의 발전에 얼마나 기여했는가를 기술하면서 나름대로 우리나라 전력전자의 발전사로 하였다. 발전사로 하였다.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.217-226
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• 2020

Ajaeng is the bowed string instrument among zither instruments in East Asia, which has a circular form to date, and it has established itself as an important instrument in today's creative Gugak along with traditional music. Looking at previous prior studies, musical instrument studies have not been actively conducted due to insufficient data from musical history studies, and this study looked at the origin, form of musical instrument, and performance methods of zither bowed string instrument through historical records of Chinese Yazheng and music drawings. The analysis of various documents showed that Ajaeng originated from an ancient Chinese traditional musical instrument called Chuk. In terms of the performance style, the Chinese Yazheng had different musical forms depending on the purpose and location of the performance, and there was a method of standing up and fixing the musical instrument horizontally to the ground. Ajaeng in Korea has been handed down without much change in the form of musical instruments introduced in China during the Goryeo Dynasty and the way they sit on the floor and play on a pedestal. Through this study, we hope that it will help to preserve and develop traditional music and Korean traditional musical instruments by enhancing understanding of musical.

• Journal of the Daesoon Academy of Sciences
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• v.31
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• pp.165-197
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• 2018

The purpose of this article is to investigate communal action in the Ox Seeking Pictures of Daesoon Thought as an expression of future prospects. The Ox Seeking Pictures in Daesoon Thought seeks out renewal of thought, renewal of life, and true living. Here, the Ox Seeking Pictures symbolize a world in which good fortune comes true according to faith in Gucheon Sangje. The correlation between searching for the ox and the supporting teachings of the Reordering Works of Heaven and Earth in Daesoon shows the transformation of Daesoon prospects for achieving the renewal of thought. The correlation between Deep Contemplation Leading to Awakening and Finding and Following Heavenly Teachings shows the transformation of Daesoon reason into a practice implemented in daily life. The correlation between a human being's awareness and the heavenly paradise of the Later World shows transformation into true living based on everyday practice and the practical transformation of one's livelihood. In this investigation, we can say that the Ox Seeking Pictures of Daesoon symbolizes the realization of human dignity and respect for lives. No life should be destroyed or violated by another. Heaven, Earth, and Humanity can be changed and born anew. The visions of the realization of the heavenly paradise of the Later World show that this paradise in the world results from Daesoon principles. This provides a unique insight when compared to the bodhisattva ideal conveyed through the Ox Seeking Pictures of Mahayana Buddhism. Daesoon's Ox Seeking Pictures consist of a three-way interlocking of renewal of thought, implementation in life, and the practical transformation of one's livelihood. The communal spirituality based in Daesoon Truth connects and mediates among people and appears in three aspects. Firstly, it is thought to be a vision of the renewal of thought through the 'Virtuous Concordance of Yin and Yang.' Secondly, it is thought to be the vision of a new life based upon the spirit of Mutual Beneficence. Thirdly, it is thought to be a vision of true living through the realization of human dignity. Because of the appearance of the Ox Seeking Pictures of Daesoon Thought, this narrative picture shows the oxherd as searching for an ox which is the symbol of Daesoon Truth and Dao. Even though he catches the ox, he is still holds the rope to tie the ox to himself. He makes an effort to keep the ox steady. Finally, the oxherd's enlightenment becomes the source of responsibility to help unenlightened people in their struggles. In conclusion, it is necessary to interpret these paintings as the start of the Later World.