• (The) Research of the performance art and culture
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• no.32
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• pp.31-70
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• 2016

Jongmyo Jeryeak [Royal ancestral shrine music] is a precious cultural heritage, which has been played till now since two great kings Sejong and Sejo who made it. But going through Japanese occupation, Jongmyo Jeryeak has been changed into a music totally different from the music the two kings intended. And the changed Jongmyo Jeryeak is being played these days. The original Jongmyo Jeryeak, which was made by the two kings, remains in old music scores. Therefore there is a need to investigate the differences between the original and current Jongmyo Jeryeak by interpreting the old music scores and recovering the original. This paper recovers the origianl Jongmyo Jeryeak from the music score Daeakhubo and compares it with the current Jongmyo Jeryeak. The results are as follows. The origianl Jongmyo Jeryeak is a set of common songs made with Hyangak and Gochiak to sing the verses which extol royal ancestors' virtues. All of the musical elements are matched with the verses so that the meaning of the verses is transmitted naturally. Jangdan musical time musical structure are matched with the structure of verses, and the musical motif of the songs is matched with the meaning of the verses. The music, which is easy and expresses the meaning of the verses well, demonstrates King Sejong's talent as a musician. The current Jongmyo Jeryeak is a set of special songs in which Sigimsae is emphasized rather than the meaning of the verses. The melodies are broken into pieces inconsistently, the meaningless word 'ae' is added thoughtlessly, and Jangdan musical time musical structure are unrelated to the verses. Therefore the meaning of the verses is not transmitted at all. These changes, which were made during the period of Japanese occupation, seem to desecrate the verses of the original songs. The melodies, which are broken into pieces inconsistently, revive into the current mysterious ritual music through Sigimsae. But in order to be a proper ritual music, some corrections have to be made to convey the meaning of the verses.

• (The)Study of the Eastern Classic
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• no.43
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• pp.183-207
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• 2011

This study finds aesthetic elements and examines their aesthetic sense focusing on the melody of the piri in the completed Jongmyojeryeak with various ideational backgrounds from the views different from the aesthetic sense of Jongmyojeryeak that has been conducted so far. Jongmyojeryeak is to hold a memorial service at the place where the godship of the line of kings and queens in Joseon is set. It is the crystal of Confucian memorial ritual and representative cultural heritage of ancestral ritual culture and is designated as No 1 of national chief, intangible cultural heritage in 1964. Also, on May 18th, 2001, it was registered first in Korea as 'Masterpieces of the Oral and Intangible Heritage of Humanity' designated by UNESCO and was recognized of its superiority. It is not only a representative cultural heritage of ancestral ritual culture having fate with Joseon Dynasty for a long period but also has been recognized as the essence of our music compiling the holistic beauty of artistic forms according to music, songs, and dance created by our ancestors. Also, it has as its background the traditional thoughts including the Confucian thought as well as Yeak thought, Yin-Yang School, Samjae thought (三才思想), and Palgoe thought (八卦思想). This Jongmyojeryeak internalizes landscape beauty, Yojang beauty, natural beauty, magnificent beauty, and harmonious beauty. Landscape beauty can be found in Huimun and Jeonpyehuimun. Yojang beauty is the figure that is only shown in Jeongdaeup. Natural beauty is the skilled performance technique shown in the melody of variations and is connected to natural creation. It is well shown in Huimun and Jeonpyehuimun. Magnificent beauty is well shown in the melody of Botaepyeong movement. And harmonious beauty is the harmonization of dischord in Jongmyojeryeak and is well shown in Jeongdaeup's Somu distinctively showing its aesthetic sense from the view of natural, harmonious beauty in its music.

• Proceedings of the Korean Society of Computer Information Conference
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• 2019.07a
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• pp.371-372
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• 2019

본 논문은 종묘제례악의 스마트폰 기반 증강현실 전통문화콘텐츠 개발을 제안한다. 조선 왕조의 전통과 역사적, 문화적 가치를 가지고 있는 종묘제례악의 문화콘텐츠로서의 가치를 확인하고 활용 방안을 논의하며 스마트폰 기반 증강현실 (AR Augmented Reality) 환경에서 콘텐츠 사용자와 효과적인 상호작용 방법을 제안한다.

• Korean Journal of Heritage: History & Science
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• v.1
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• pp.168-176
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• 1965

• The Journal of the Acoustical Society of Korea
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• v.27 no.1
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• pp.12-17
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• 2008

Taepyeongso was introduced from China during the end of the Goryeo period and was used widely in Daechwita (military processional music), Pungmul-nori (farmers music), Buddhist music, royal ancestral rite music, and Sinawi, the instrumental accompaniment to shaman dances. Now, It has been popular as it is used for pop music and it is easy to learn. In this paper, Taepyeongso was analyzed for electronic Taepyeongso using physical modeling. We extracted resonance properties of Taepyeongso through the analysis of Taepyeongso sound. We analyzed the bell, the bore and the mouthpiece using FFT and LPC curve. As a result, the bell could be represented 2 pole filter and reflection filter between bore and bell.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.80-95
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• 2016

This study sought to disclose the problems surrounding the erroneous explanation of the title of the musical script 'Jeongdaeeop,' which is Jongmyojeryeak(Jongmyo Shrine ritual music), shown in Daeakhubo, Korea's treasure No.1291. Daehakhubo imitated and adopted expressions like 1 Byeon(change) and 1 Pyeon(edition), shown in the music written in the Annals of King Sejong, the foundation of Jongmyojeryeakbo music. Originally, 'Jeongdaeeop' recorded during the reign of King Sejong consisted of 6-Byeon and 13-Pyeon compositions, except Inlet and Outlet tunes. King Sejo, however, while rearranging this music into Jongmyo Shrine Mumuak music, reduced it to 9 tunes. And, when registering such arrangements in the musical scripts in the Annuals of King Sejo, he did not list the explanation of the titles as in the Annals of King Sejong. He just listed the nine tunes. In contrast to the musical scripts in the Annals of King Sejo, in Daeakhubo the details of Byeon and Pyeon under the nine tune titles are listed as in the Annals of King Sejong. This study revealed that Byeon and Pyeon expressed in Daeakhubo were the results of arbitrarily transcribing the different Byeon and Pyeon of 'Jeongdaeeop' and 'Balsang' in the Annals of King Sejong into the revised 'Jeongdaeeop' during the reign of King Sejo. Thus, under the titles of each score in 'Jeongdaeeop' of Daeakhubo are written the explanations of the muscial scores shown in both 'Jeongdaeeop' of the Annals of King Sejong and 'Balsang' of the Annals of King Sejong. Thus, the story of the son Ikjo is described even ahead of the story of the father Mokjo, and stories totally different from the original movements are described, creating overall errors. Such errors were presumably caused by powers that created the false musical script 'Sokakwonbo' during the Japanese colonial rule of Korea and disguised it as a traditional musical script.