• Title/Summary/Keyword: 한문

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Effects of Telephone Hotline Counseling Program on Stroke Care (뇌졸중 환자에 적용한 핫라인 전화상담 프로그램의 효과)

  • Baik Kyun Kim;Dong-Wan Kang;Do Yeon Kim;Jung Hyun Park;Ji-Seok Woo;Young-Hee Kim;Hyun-Sook Kim;Min-Joo Moon;Jeong-Yoon Lee;Hyung Seok Guk;Nakhoon Kim;Sang-Won Choi;Hakyeu Ahn;Bosco Seong Kyu Yang;Jun Yup Kim;Jihoon Kang;Moon-Ku Han;Hee-Joon Bae;Beom Joon Kim
    • Health Policy and Management
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    • v.33 no.2
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    • pp.185-193
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    • 2023
  • Background: This study focuses on the establishment and operation of a stroke patient hotline program to help patients and their caregivers determine when acute neurological changes require emergency attention. Method: The stroke hotline was established at the Gyeonggi Regional Cerebrovascular Center, Seoul National University Bundang Hospital, in June 2016. Patients diagnosed with stroke during admission or in outpatient clinics were registered and provided with stroke education. Consulting nurses managed hotline calls and made decisions about outpatient schedules or emergency room referrals, consulting physicians when necessary. The study analyzed consultation records from June 2016 to December 2020, assessing consultation volumes and types. Outcomes and hotline satisfaction were also evaluated. Results: Over this period, 6,851 patients were registered, with 1,173 patients (18%) undergoing 3,356 hotline consultations. The average monthly consultation volume increased from 29.2 cases in 2016 to 92.3 cases in 2020. Common consultation types included stroke symptoms (22.3%), blood pressure/glucose inquiries (12.8%), and surgery/procedure questions (12.6%). Unexpected outpatient visits decreased from 103 cases before the hotline to 81 cases after. Among the 2,244 consultations between January 2019 and December 2020, 9.6% were recommended hospital visits, with two cases requiring intra-arterial thrombectomy. Patient satisfaction ratings of 9-10 points increased from 64% in 2019 to 69% in 2020. Conclusion: The stroke hotline program effectively reduced unexpected outpatient visits and achieved high patient satisfaction. Expanding the program could enhance the management of stroke-related neurological symptoms and minimize unnecessary healthcare resource utilization.

Discuss on the Historical Development and Change of Chinese Piquancy Addiction (중국사람들의 매운 맛 기호의 역사적 추이에 대한 논술)

  • Zhao, Rong-Guang
    • Journal of the Korean Society of Food Culture
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    • v.23 no.2
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    • pp.293-300
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    • 2008
  • It determines Chinese addiction to piquancy that the Chinese traditional food production laid excessively particular stress on agriculture coming into being long before in the history and the state of Chinese food living was that the people were very difficult to live. The history of Chinese addiction to piquancy could be traced back to prehistory. And in Chinese “hot” is separated from “peppery” and it refers in particular to the piquancy more than general peppery. The character of “Hot” appeared after Han Dynasty in Chinese. Capsicum was brought to China from the sea in the middle of Ming Dynasty. Then it surpassed the formers soon and became the most popular and addictive piquancy food in China. Capsicum has many names in China, such as “$F{\bar{a}}nji{\bar{a}}o$”, “$H{\bar{a}}iji{\bar{a}}o$”, “$L{\grave{a}}ji{\check{a}}o$”, “$L{\grave{a}}h{\breve{u}}$”, “$L{\grave{a}}zi$”, etc., and they indicate the geographical and humanistic character of the distribution. (eight books on preserving one’s health) is the earliest history record about capsicum in existent Chinese history record that was finished in 1591. In this article the author puts new opinion forward on the record in this book. It is because the hottest piquancy of capsicum, capsicum’s better adaptability and low cost to plant combine with Chinese piquancy addiction at large that capsicum can replace the status of pepper and other traditional peppery flavorings soon and cause worldwide attention to the Chinese piquancy addiction finally. The human common characters of unchangeable inertia, depending to fully grow addiction and aggrieved delight are the most important reasons to cause piquancy addiction that has formed a custom through long-repeated practice and this custom do not change with condition change. The unbalanced spread process of capsicum in China shows that the region is poorer and the addictive degree is deeper.

A Study on the Configuration of Chinese Drama and the Connection between Yadam (한문 희곡 <동상기(東廂記)>의 구성과 야담 <동상기찬(東廂記纂)>과의 연계성)

  • Kim, Joon-Hyeong
    • (The) Research of the performance art and culture
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    • no.39
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    • pp.325-355
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    • 2019
  • On June 12, 1791, the old bachelor Kim Hee-jip and the old lady Shin Deok-bin's Daughter get married. The wedding ceremony is a state-led so-called 'virgin virgin bachelor's marriage project'. At that time, the king ordered the recorder to record the case, which is called . The private sector also made it into a work, which is the Chinese drama written by LeeOk(李鈺). was created with the purpose of praising the king, and it inserted entertainment elements into it, so it had a frame of plays, but it did not have a performance in mind from the beginning. LeeOk uses different styles in each of the four acts. He tried to soothe his boredom by setting tales and proverbs in Acts 1 and 2, Pansori in Act 3, and drama in Act 4. In 1918, BaekDooYong(白斗鏞) published DongSangGiChan[東床記纂], which is combines drama and Yadam . In previous studies, these two were perceived as different works, but the two rooms were closely linked: the link was 'someone recognize me[知 己]'. He understood the table of contents made by Lee as 'JaeHyun(才賢)', 'deokhye(德慧)', 'Kwontaek(眷澤)', 'Bokyeon(福 緣)' respectively, and recorded the version of the yadam that fits it in . From acts 1 to 4, Baek contained his desire in it by constructing 'someone recognizes me → I recognize someone → do good things[積善] → blessings[餘慶]'. This is why we can't comprehend and as completely different works.

Yeomjae Song Tae-hoe Origin and art world of calligraphy and painting (염재(念齋) 송태회(宋太會) 서화의 연원과 예술세계)

  • Kim Doyoung
    • The Journal of the Convergence on Culture Technology
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    • v.9 no.5
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    • pp.255-262
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    • 2023
  • In the early 20th century, Yeomjae Song Tae-hoe (念齋 宋泰會, 1872-1941), a disciple and onetime adopted son of teacher Song Su-myeon(宋修勉, 1847-1916), moved to Gochang and laid the foundation for Gochang calligraphy and painting, and it can be seen that a full-fledged flow began. Yeomjae Song Tae-hoe was a scholar and calligrapher of the late Joseon Dynasty and modern period from Hwasun, Jeollanam-do. He is a person who created the foundation of Gochang calligraphy and painting while working as an educator in Chinese literature, calligraphy, and painting, mainly in his hometown of Hwasun and Gochang, while engaging in creative activities. He was intelligent from a young age and showed an extraordinary talent for calligraphy. At the age of 16, he passed the Jinsa exam (童蒙進士) and became the youngest student to study at Sungkyunkwan. He was active by holding exhibitions nationwide based in Gochang and Jeonju, and was also an educator who fostered younger students by establishing Gochang High School (currently, Gochang Middle and High School) to cultivate national spirit and history. Yeomjae drew strong and healthy landscape paintings under the absolute influence of the painting style of Saho Song Su-myeon, and dealt with various materials of southern school literati paintings such as flowers and birds and four plants. In particular, he is a representative calligrapher who encompasses the early modern era and the modern era in that he expressed his interest in new cultural artifacts as well as the realization of a modern-oriented realistic landscape based on Korean natural beauty. He laid the foundation for modern and contemporary calligraphy and painting. Goam Lee Eung-no (顧菴 李應魯, 1904-1989), a world-renowned painter, learned the basics of ink painting from Yeomjae in his late teens.However, compared to his various artistic and social activities, it is regrettable that he is limited and evaluated as a local writer.

Effectiveness of statin treatment for recurrent stroke according to stroke subtypes (뇌졸중 재발에 대한 스타틴 치료의 뇌졸중 아형에 따른 효과성)

  • Min-Surk Kye;Do Yeon Kim;Dong-Wan Kang;Baik Kyun Kim;Jung Hyun Park;Hyung Seok Guk;Nakhoon Kim;Sang-Won Choi;Dongje Lee;Yoona Ko;Jun Yup Kim;Jihoon Kang;Beom Joon Kim;Moon-Ku Han;Hee-Joon Bae
    • Journal of Medicine and Life Science
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    • v.21 no.2
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    • pp.40-48
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    • 2024
  • Understanding the effectiveness of statin treatment is essential for developing tailored stroke prevention strategies. We aimed to evaluate the efficacy of statin treatment in preventing recurrent stroke among patients with various ischemic stroke subtypes. Using data from the Clinical Research Collaboration for Stroke-Korea-National Institute for Health (CRCS-K-NIH) registry, we included patients with acute ischemic stroke admitted between January 2011 and July 2020. To evaluate the differential effects of statin treatment based on the ischemic stroke subtype, we analyzed patients with large artery atherosclerosis (LAA), cardio-embolism (CE), and small vessel occlusion (SVO). The primary outcomes were recurrent ischemic stroke and recurrent stroke events. The hazard ratio for outcomes between statin users and nonusers was compared using a Cox proportional hazards model adjusted for covariates. A total of 46,630 patients who met the inclusion criteria were analyzed. Statins were prescribed to 92%, 93%, and 78% of patients with LAA, SVO, and CE subtypes, respectively. The hazards of recurrent ischemic stroke and recurrent stroke in statin users were reduced to 0.79 (95% confidence interval [CI], 0.63-0.99) and 0.77 (95% CI, 0.62-0.95) in the LAA subtype and 0.63 (95% CI, 0.52-0.76) and 0.63 (95% CI, 0.53-0.75) in CE subtype compared to nonusers. However, the hazards of these outcomes did not significantly decrease in the SVO subtype. The effectiveness of statin treatment in reducing the risk of recurrent stroke in patients with LAA and CE subtypes has been suggested. Nonetheless, no significant effect was observed in the SVO subtype, suggesting a differential effect of statins on different stroke subtypes.

The Etymological Study in Synonyms of Chinese Character 'Xing(行)' (『광아소증(廣雅疏證)』의 '행(行)'의자(義字) 훈고(訓詁)에 보이는 성동성근자(聲同聲近字)에 대한 고찰)

  • 서한용
    • Journal of Sinology and China Studies
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    • v.78
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    • pp.47-65
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    • 2019
  • Guang-ya(廣雅) compiled by Zhang Ji(張揖), in about A.D. 227, is a dictionary of synonyms. Wang Nian-sun(王念孫) discriminated among synonyms by Guang-ya-shu-zheng(廣雅疏證) in about A.D. 1795. In his book, Wang Nian-sun(王念孫) annotated synonyms of Chinese characters in Guang-ya(廣雅). At the same time, he also tried to find out the homophonic and synonymic relationship in Chinese characters. These are the foundation of the graphonomy of Chinese characters. So we can say, Wang Nian-sun(王念孫) made the greatest contribution to the theoretical construction to the etymology of Chinese characters. The outstanding dictionaries of Chinese characters were Shuo-wen(說文) by Xu-shen(許愼), Shuo-wen-jie-zi-zhu(說文解字注) by Duan Yu-cai(段玉裁) and Shuo-wen-tong-xun-ding-sheng(說文通訓定聲) by Zhu Jun-sheng(朱駿聲). These books described Chinese characters and also analyzed the homophonic and synonymic relationship in Chinese characters. The representative dictionaries in the etymology of Chinese characters was Wen-shi(文始) by Zhang Tai-yan(章太炎). The homophonic and synonymic relationship in Chinese characters was described and analyzed in this book. This report consists of five chapters. The first chapter gives the purpose of the etymological study in synonyms of Chinese character 'Xing(行)'. The second chapter gives analysis of the Yi-ti-zi(異體字) in synonyms of Chinese character 'Xing(行)' in Guang-ya-shu-zheng(廣雅疏證). The third chapter gives analysis of the Jia-jie-zi(假借字) in synonyms of Chinese character 'Xing(行)' in Guang-ya-shu-zheng(廣雅疏證). The fourth chapter gives analysis of the Tong-yuan-zi(同源字) in synonyms of Chinese character 'Xing(行)' in Guang-ya-shu-zheng(廣雅疏證). This report also gives analysis of the etymological study in synonyms of Chinese character 'Xing(行)' in Shuo-wen(說文), Shuo-wen-jie-zi-zhu(說文解字注), Shuo-wen-tong-xun-ding-sheng(說文通訓定聲). The concluding chapter provides the summary of the preceding chapters and the description of conclusion.

A Study of the Time-Space and Appreciation for the Performance Culture of Gwanseo Region in Late Joseon Period: Focusing on Analysis of Terminology (조선후기 관서지방의 공연 시공간과 향유에 관한 연구)

  • Song, Hye-jin
    • (The) Research of the performance art and culture
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    • no.22
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    • pp.287-325
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    • 2011
  • This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.

A Study on the Morphological Structure of Sasul-Sijo (사설시조의 형태구조 연구)

  • Won, Yong-Moon
    • Sijohaknonchong
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    • v.23
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    • pp.161-188
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    • 2005
  • The purpose of this study was to delve into the morphological types of Sijo in an effort to determine the morphological structure of Sasul-sijo, and it's also attempted to present standard about how to discriminate Pyong-si, Eos-sijo and Sasul-sijo from one another from a morphological standpoint. It's suggested that Si with tee Jangs, six verses and 12 stanzas or more, with three Jangs, seven verses and 14 stanzas or more, and with three Jangs, eight verses and 16 stanzas or more should respectively be called Pyong-sijo, Eos-sijo and Sasul-sijo. After what Sijo was and what's not were discussed, how to distinguish Eos-sijo from Sasul-sijo was described, and finally, the structure of Sasul-sijo was presented. As for Sijo and non-Sijo, the types of works that consisted of tee Jangs, like Sijo, yet didn't suit its framework and Yuljo and were written in Chinese characters were regarded as non-Sijo. Concerning discrimination between Eos-si and Sasul-sijo, the type of Sijo that included one more or higher number of verse(s) and two more or higher number of stanzas in one of three Jangs was defined as Eos-sijo, and the type of Sijo that involved two more or higher number of verses and four more or higher number of stanzas in one of three Jangs was called Sasul-sijo. In other words, Eos-sijo contained one more verse in one of tee Jangs, and Sasul-sijo included one more Jang in one tee Jangs. The sort of Sijo that contained one more Jang in one of three Jangs could be viewed as Sasul-sijo. Regarding the structure of Sasul-si, there should be three Jangs, eight verses and 16 stanzas in one piece of Sasul-sijo. Any type of Sijo that contained two more or higher number of verses and four more or higher number of stanzas could be called Sasul-sijo. Such an addition of verse and stanza could done in various ways. The examples were (1) adding stanzas the first Jang, 2) adding stanzas to the second Jang, (3) adding stanzas to the final Jang, (4) adding stanzas to both the first and Second Jangs, (5) adding stanzas to th the second and final Jangs, and (6) adding stanzas to all the first, second and third Jangs at the same time. Besides, there was an extremely broad gap between the numbers of verse and stanza in Sasul-sijo, which ranged from a low of eight stanzas to a high of 87 ones in one of three Jangs.

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A Study on the Meaning of 'Gyoun' and Earlier Variations of Chapter One of 'Gyoun' in The Canonical Scripture (『전경(典經)』 「교운(敎運)」편 1장에 나타난 교운의 의미와 구절의 변이 연구)

  • Ko, Nam-sik
    • Journal of the Daesoon Academy of Sciences
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    • v.36
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    • pp.153-199
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    • 2020
  • The teachings of Sangje teachings have been spread to humanity and were provided as basis for building the earthly paradise due to His having performed the Reordering Works of the Universe (Cheonjigongsa) for nine years. The work that remains will be completed year by year following the cosmic program that Sangje set for the universe. The chapters titled 'Gyoun (Progress of the Order)' in Jeon-gyeong (The Canonical Scripture) can be summarized into three parts: Viewing Gyoun, Spreading Gyoun, and Establishing the firm ground of Gyoun. Viewing Gyoun is seeing how the teachings would be transmitted from the beginning to end. The work of Gyoun was established by Sangje and promoted as the teachings of Sangje which will ultimately unfold into the realization of an earthly paradise. Spreading Gyoun is performed by disciples who received the teachings from Sangje and then the successor to whom Sangje transmitted the religious authority. Since chapter two of Gyoun is about the hagiography of Doju Jo Jeongsan, it is shown that Doju unfolded and developed Sangje's teachings. Establishing the firm ground of Gyoun is carried out to enable practitioners to understand that Dotong-gunja ('Dao-Empowered Sages,' Earthly Immortals) will be produced as a result of Sangje's Reordering Works of Heaven and Earth and that humans can perfect themselves through cultivating the Dao. In conclusion, Gyoun can be summarized as a process that started during Doju Jo Jeongsan's 50 years (1909~1958) of holy works and spreading of the teachings. Next, it was continued through the time of Dojeon who was bestowed with religious authority through Doju's last words. Dojeon, like Doju before him, spread the teachings. In later times, there will be Dotong-gunjas who transmit Sangje's teachings to the whole world. Although the above characterizations are accurate, I compared some verses from Chapter 1 of Progress of the Order (Gyoun) in The Canonical Scripture (Jeon-gyeong) of Daesoon Jinrihoe to the 6 th edition (1965) of Daesoon Jeongyeong, a key scripture from the earliest strata of Jeungsanist scriptures, and found that there were a few earlier variations of the same content. The use of words and sentences were different though in several of these verses. Also, some of the verses indicated alternative historical dates (years), and some of the verses from Chapter 1 of Progress of the Order from The Canonical Scripture do not appear anywhere in the 6th edition of Daesoon Jeong-gyeong.

The influence with buddhist music appearing in PanYeombul out of Ogu exorcism of East coast - focused on the song by Kim Janggil - (동해안 오구굿 중 판염불에 나타난 불교음악의 영향 - 김장길의 소리를 중심으로 -)

  • Seo, Jeong-mae
    • (The) Research of the performance art and culture
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    • no.34
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    • pp.277-313
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    • 2017
  • This study is to find out the correlation with buddhist music after analyzing the rhythm of six pieces of PanYeombul sung by Kim Janggil out of Ogu exorcism of East coast the findings summarized are as follows. First, PanYeombul by Kim Janggil, performed on Oct, 16, 2016, was composed of , , , , , , , , , , and . Still, even if PanYeombul is performed by the same male shaman, the composition can be added or left out depending on some circumstances, which means the procedures are flexible. Seeing that there is common component of in additoin to compared with Kimyongtaek, it can be said that the component of is an important part in PanYeombul of Ogu exorcism of East coast Second, is usually referred to 'SinmyojangguDaedalani' in buddhist ritual, While Kim yongtaek accepts this practice in title, Kim Janggil uses 'YeomhwajangguDaedalani' as the title which makes his song different from others. Yeomhwa means "picking up flowers with fingers" which has been used in buddhism, not in common Considering this fact, the conclusion can be reached that by using the term 'Daedalani' from a buddhist chant, but making differentiation from buddhism, Kim Janggil is making the effort to be different from buddhist rituals. give some unique meaning to shaman rituals. Third, PanYeombul of Ogu exorcism of East coast may be divided into two main parts - the former part is PanYeombul and the latter part is Jiokga. In performing PanYeombul, male shaman sits singing alone and playing Jing himself, on the other hand, in case of Jiokga, he stands singing a solo with gwaeggwari in his hand accompanied by other musicians with the rhythm of Samgongjaebi. As the song and the accompaniment are in the form of giving and taking like duet. it is in peak in terms of music. Accordingly, PanYeombul can be divided into PanYeombul and Jiokga, But since it is performed by one male shaman and sung a solo, it is usually seen as one procedure. Jing, which is a kind of accompaniment in PanYeombul by Kim Janggil, has the role to distinguish a phrase and settle the musical paragraph. When the buddhist chant with one word-one note is performed. it requires the performer to catch his or her breath or clear throat. Just then, Jing comes out for filling out the intervals. Also, its role to distinguish a phrase and settle the musical paragraph helps make it clear to deliver words. The rhythm of Jing is mostly made up of small triple time except equal small binary time, comes out with overwhelmingly more frequency of Sutsoe(♪♩) than Amsoe(♩♪), and often shows syncopation. By often using Off Beat or short-long rhythm even in accompaniment of equal small binary time, he tris to give some variation to monotonous and equal rhythm for the musical vitality. These are similar to Sutsoe rhythm which can evoke tension and Kim Janggil makes these things his characierisiic of rhythm. Fifth, all the pieces consist of mi, sol, la, do, re and the descending melody like do'${\searrow}$la${\searrow}$sol${\searrow}$mi appears most frequently. The descending melody usually arouses the feeling of sorrow, so the sadness for the deceased is presented properly, which suggests his musical talent. Generally, pieces take on Menari-tori as a whole where the length of sol appears for a short time in descending la${\searrow}$sol${\searrow}$mi of perfect four degrees. Sixth, Even he accepts the lines of buddhist chant, he changes them in some degree. For example, he inserted some words between lines like 'Wonwangsaeng' and 'NamuAmitabul' and added Korean words like hapsosa to the lines of buddhist service written in Chinese character. Also, he inserted some words like 'iiiiiii~' to express the feeling of sadness. These are to maximize the desire of the deceased to go to the heaven and at the same time to diminish the sign of buddhism and strengthen the features of shamanism. Seventh, the effort to decrease the sign of buddhism is made in pasting lines of two songs. For example, Between the last words 'Wonsuaenapsu of Dage and the first words 'Jisimgwimyeongrye' of Chiljeongrye, there is usually a short pause to distinguish paragraphs, But he continues two songs without any pause to get rid of the feelings of buddhist chant. In terms of melody, he makes a distance from buddhist chant in an effort that he gives some traits to shaman rituals which are different from buddhist even if he uses the lines of buddhist rituals. Eighth, the analyzed pieces can be in four categories - no regular melody , , equal small binary time , eotmori melody of ten eighth time with 3+2+3+2 mixed small time . and Samgongjaebi melody 3+2+3 mixed small time . Each piece has its unique melody. Although of buddhist ritual is often performed, by using eotmori melody, he evokes the feeling of shaman and is another example of giving unique characteristic to the shaman of East coast by using Samgongjaebi melody.