• Sijohaknonchong
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• v.30
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• pp.91-107
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• 2009

This study is to examine how Sijo is being accommodated to modern Gagok by comparing them. In details, the work is about comparison between three verses in Sijo and twofold grouping in modern Gogok, JoongYuUm in traditional Gagok, YuBak in Sijo, the interlude, ADanSungJang, and changing verses in modern Gagok. First point is about three verses in Sijo and a rhythm of twofold grouping in modern Gagok. In particular, modern Gagok is treated as a group of twofold leaving three verses of Sijo. The way is chosen that whether it sets on an interlude into a song or the third part of three verses in Sijo is extended to avoid its logic of music and poem. Second, the discussion moves points on between an interlude in traditional Gagok and in Sijo. In the process of grouping twofold in modern Gagok, the parts which are interludes of both in traditional Gagok and in Sijo, combined with the interlude of the modern Gagok. It shows that the modern Gagok is affected on both the traditional Gagok and the Sijo. In addition, it explains elements of ADanSungJang - - tones and sounds in the modern Gagok. Originally, the traditional Gagok and sijo are composed of tones and sounds. At this point, tones are short, whereas sounds should be longer. This kind of way in the song has appeared on the modern Gagok of Hong, Nan-Pa. Lastly, the factors is about changing verses of modern Gagok. The one of differences between the modern Sijo and traditional Sijo is verses. For example, when it comes to sijo by Lee, Eun-Sang, he used to create his sijo with three verses. Hence, he did not change verses on his works. Whereas, the modern song "The Spring Lady" by Hong, Nan-Pa has shown the phenomenon that is separating three verses into six verses. It is noticeable that this phenomenon in "The Spring Lady" has the same bases with the modern Sijo.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.124-139
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• 2016

This study was carried out to characterize 127 recently developed cultivars of Rose of Sharon (Hibiscus spp.) in Korea and foreign Countries for landscape uses. The examined factors were growth characteristics such as tree height of a 1-year grafted plant(cm), plant type, growth habit, leaf characteristics such as shape and size, flower characteristics such as color, shape, size, and red eye during 2014 and 2015 for landscape uses. The results are obtained as follows; In the results of flower color of the 127 recently developed cultivars, pink color with red eye spot, white color with red eye spot, purplish red color with red eye spot, violet purple color with red eye spot, crimson color with red eye spot, asadal, blue color with red eye spot, and white color were distributed. In the flower characteristics, Hibiscus hybrid 'Daewangchun' had the largest flower size of 16.0cm out of the 127 cultivars. H. syriacus 'Antong', 'Lil Kim', and 'Ggoma' were cultivars with smaller flowers than other cultivars. H. syriacus 'Hunjang' had largest red eye, of 5.2cm of length compared to the other cultivars. The cultivars with unique flower color for landscape uses are H. syriacus 'Kwangmyung', 'Nanpa', 'North face', 'Bulsae', 'Bidan', 'Songam', 'Youngchang', 'Jukpeoso', 'Kiho', 'Tamla', 'Hwasoored' and 'Hwanhee'. These flowers had a purplish red color and were developed in Korea. H. syriacus 'Aphrodite', 'Dr. Uemoto', 'Freedom', 'Pink Cup', 'PS 80-1', 'Purpureus Variegatus', 'Red Giant', 'Woodbridge' also had unique flowers with a purplish red color and were introduced from foreign countries. In addition, cultivars with violet pink flowers were H. syriacus 'Ggoma', 'Doturak', 'Myungmi', 'Byunghwa', 'Sancheonyu', 'Taehwa', 'Hikari-hanagasa', and 'Little Kim Violet'. 'Jongmoo' and 'Ruffled Satin' had flowers with crimson color. Therefore, the new cultivars with unique flower colors were a promising cultivars to a woody landscape plant. Cultivars with large flower sizes were Hibiscus hybrid 'Daewangchun', Hibiscus hybrid 'Daemang', and Hibiscus hybrid 'Jina'. H. syriacus 'Ggoma', 'Mibeak', 'Antong', 'Lil Kim', and 'Eunhasu' had small flower sizes. Cultivars with long red eye were H. syriacus 'Hunjang' and H. syriacus 'Hi Lea Red'. Therefore, the new cultivars, Hibiscus hybrid 'Daewangchun', Hibiscus hybrid 'Daemang', Hibiscus hybrid 'Jina' with large flower sizes, H. syriacus 'Ggoma', 'Mibeak', 'Antong', 'Lil Kim', and 'Eunhasu' with small flower sizes, H. syriacus 'Hunjang' and H. syriacus 'Hi Lea Red' with long red eye, were promising cultivars to a woody landscape plant.

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.35-46
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• 2021

The purpose of this research is to analyze Soon Chul Jung's children's songs, who is one of the four great children's songwriters in Korea along with Geuk Young Yoon, Nan Pa Hong and Tae Jun Park. Soon Chul Jung has contributed by actively participate into children's movement at Japanese colonial period through writing self-composed children's songs. Since children's songs are made for the age group without the sense of sound, children's songs necessitate 'easy to sing-along' melody writing process. Like so, when writing the melody that are easy to be sang along, utilization of development technique using a unit called motive can be the potent way. This method has an advantage of being sang more with ease if actively implemented, and can be done by utilizing the smallest unit of the melody called motive, especially by lightly transform and repeat the unit, consequently structuring the song altogether. To investigate and analyze this motive-based development technique of Soon Chul Jung's songs, 38 out of 40 written songs considered eligible for the research were confirmed and chosen from 'Soon Chul Jung's bibliography and choreography' and each songs were analyzed based on 17 different development techniques which were standardized in the textbook 'Melody in Songwriting' adopted as a textbook of the Berklee college of Music, and also compared these song-writing pipelines with other great songwriters' representatives mentioned above. As a result, it was almost linear that the song's pitch variation in combination with thinning or extension were used frequently and repeatedly, otherwise implicating melody duplication for more than 2 bars and motive repetition were not in his favor, while these methods were often used when writing children's songs. This finding could be viewed as a character of his songwriting.