• Journal of the Korean Society of Fisheries and Ocean Technology
• /
• v.29 no.3
• /
• pp.200-213
• /
• 1993

A model experiment on a midwater rope trawl net which is used in the North Pacific to catch alaska pollack is carried out in the circulating tank to examine the basic efficiency of the net. The prototype is the net used by M/S Hanil(1, 179GT, 2, 700PS), a Korean trawler. The model net was made according to the Tauti's Similarity Law of Fishing Gear in 1/100 scale by considering the condition of the tank. To measure the basic efficiency of the standard model net, the vertical opening and width between some points marked on the net were measured, and the hydrodynamic resistance were determined. Then the constructive conditions of the net were varied as follows and the factors were measured again to compare the efficiency of those nets with that of the standard net(A-1 type) front weight multiplied 1.5 times: A-2 type. buoyancy and depressing force multiplied 1.7 times: A-3 type. front weight multiplied 1.5 times on A-3 type: A-4 type. depressors rigged at ground rope: B type. cod-end stuffed with cashmylon wad: C type. The results obtained can be summarized as follows: 1. The vertical opening at the center of head rope was steeply decreased with the flow velocity increasing and the vertical opening H(m) can be expressed in H=1.2v super(-1.2)(v : flow velocity in m/sec). The width of the net varied a little when the flow velocity was over 0.4m/sec, and the width of net mouth showed about 37% of the distance between the fore tips of net pendant. The shape of net mouth was almost a circle at 0.2m/sec and then steeply flatted elliptically with the flow velocity increasing and the area of mouth S(m super(2)) can be expressed in S=(1.65-2.3v)$\times$10 super(-2). The hydrodynamic resistance of the net increased almost linearly with the flow velocity increasing and the resistance R(kg) can be expressed in R=3.2$\times$d/l$\times$abv. where d/l denotes the mean of d(diameter of netting twine) and l(length of a leg in a mesh) from wing tip to the end of bag-net except cod-end on the side pannel, and a denotes the strectched circumference of the net at the fore end of a meshed part and b the stretched length of the whole net from wing tip to the end of cod-end. 2. In the condition-varied nets, the vertical opening of head rope showed some increase in every type net except the C type, and the increase showed the greatest in the B type by 30~54%, whereas it showed decrease in the C type by 5~10%. Variation of the area of net mouth showed almost the same tendency as the vertical opening and the increase showed the greatest in the B type by 20%, whereas it showed decrease in the C type by 12%. Hydrodynamic resistance showed some increase in every type compared with the standard net, and the rate of increase indicated 5~10% in the A-2, A-3 and A-4 type, 22% in the B type and 3% in the C type.

• The KIPS Transactions:PartD
• /
• v.11D no.3
• /
• pp.495-508
• /
• 2004

Recently, in content-based music information retrieval systems, to enhance the response time of retrieving music data from large music database, some researches have adopted the indexing mechanism that extracts and indexes the representative melodies. The representative melody of music data must stand for the music itself and have strong possibility to use as users' input queries. However, since the previous researches have not considered the musical composition forms, they are not able to correctly catch the contrast, repetition and variation of motif in musical forms. In this paper, we use an index automatically constructed from representative melodies such like first melody, climax melodies and similarly repeated theme melodies. At first, we expand the clustering algorithm in order to extract similarly repeated theme melodies based on the musical composition forms. If the first melody and climax melodies are not included into the representative melodies of music by the clustering algorithm, we add them into representative melodies. We implemented a prototype system and did experiments on comparison the representative melody index with other melody indexes. Since, we are able to construct the representative melody index with the lower storage by 34％ than whole melody index, the response time can be decreased. Also, since we include first melody and climax melody which have the strong possibility to use as users' input query into representative melodies, we are able to get the more correct results against the various users' input queries than theme melody index with the cost of storage overhead of 20％.

• Magazine of the Korean Society of Agricultural Engineers
• /
• v.8 no.1
• /
• pp.1088-1096
• /
• 1966

The following is a method of synthetic unitgraph derivation based on the routing of a time area diagram through channel storage, studied by Clark-Jonstone and Laurenson. Unithy drograph (or unitgraph) is the hydrograph that would result from unit rainfall\ulcorner excess occuring uniformly with respect to both time and area over a catchment in unit time. By thus standarzing rainfall characteristics and ignoring loss, the unitgraph represents only the effects of catchment characteristics on the time distribution of runoff from a catchment The situation abten arises where it is desirable to derive a unitgraph for the design of dams, large bridge, and flood mitigation works such as levees, floodways and other flood control structures, and are also used in flood forecasting, and the necessary hydrologie records are not available. In such cases, if time and funds permit, it may be desirable to install the necessary raingauges, pruviometers, and stream gaging stations, and collect the necessary data over a period of years. On the otherhand, this procedure may be found either uneconomic or impossible on the grounds of time required, and it then becomes necessary to synthesise a unitgraph from a knowledge of the physical charcteristics of the catchment. In the preparing the approach to the solution of the problem we must select a number of catchment characteristic(shape, stream pattern, surface slope, and stream slope, etc.), a number of parameters that will define the magnitude and shape of the unit graph (e.g. peak discharge, time to peak, and base length, etc.), evaluate the catch-ment characteristics and unitgraph parameters selected, for a number of catchments having adequate rainfall and stream data and obtain Correlations between the two classes of data, and assume the relationships derived in just above question apply to other, ungaged, Catchments in the same region and, knowing the physical characteritics of these catchments, substitute for them in the relation\ulcorner ships to determine the corresponding unitgraph parameters. This method described in this note, based on the routing of a time area diagram through channel storage, appears to provide a logical line of research and they allow a readier correlation of unitgraph parameters with catchment characteristics. The main disadvantage of this method appears to be the error in routing all elements of rainfall excess through the same amount of storage. evertheless, it should be noted that the synthetic unitgraph method is more accurate than the rational method since it takes account of the shape and tophography of the catchment, channel storage, and temporal variation of rainfall excess, all of which are neglected in rational method.

• Korean Journal of Fisheries and Aquatic Sciences
• /
• v.31 no.6
• /
• pp.859-868
• /
• 1998

In order to investigate the relation between the marine environmental characteristics and the change of the catch in set net, the marine environment properties were analyzed by temperature and salinity observed in the western coastal area of Cheju Island from 1995 to 1996 and the results are as follows 1) Main axis of Tsushima Current appeared in the western coastal area of Cheju Island was off 2$\~$3 miles from November to May. Therefore the waters of high temperature over $14^{\circ}C$ and high salinity from $34.40\%_{\circ}$ to $34.60\%_{\circ}$ were distributed homogeneously from surface to bottom in this time. But China Coastal Waters of low salinity appeared in the Cheju Strait from June to October, surface waters became of high temperature and low salinity, and middle and bottom waters became of the temperature from 11 to $14^{\circ}C$ and the salinity over $33.50\%_{\circ}$ and then vertically sharp thermocline and halocline are formed in the western coastal area of Cheju Island. In summer, the water temperature and salinity of the surface waters in wstern coastal area of Cheju Island were lower and higher respectively than that in middle area of the Cheju Strait and the temperature and salinity of the bottom waters in this area were higher and lower, respectively than that in middle area of the Cheju Strait. Such a distribution shows a tidal front in this coastal area. On the whole year, surface temperature and salinity were from 14 to $23^{\circ}C$ and from 30.60 to $34.60\%_{\circ}$, respectively, and annual fluctuation range of temperature and salinity was within $9^{\circ}C$ and $4.00\%_{\circ}$, respectively, Thus, annual fluctuation range in this area is much narrower than that in the Cheju Strait. In bottom water, temperature ranges from 14 to $20^{\circ}C$ through the year. Thus, the fluctuation range of temperature is narrow. The low temperature of from $11^{\circ}C$ to $13^{\circ}C$ appeared in the west enterance of Cheju Strait was not shown in this coastal area. 2) The salinity of bottom water was from $33.60\%_{\circ}$ to $34.40\%_{\circ}$ in 1995, while low salinity wale. below $32.00\%_{\circ}$ appeared all depth from June in 1996. Thus, the variation of hydrographic conditions in this area is narrow in winter, and wide in summer due to the influence of China Coastal Waters. 3) In summer, surface cold water, local eddy and fronts of temperature and salinity were showed within 2 mile from the west coast of the Cheju Island due to vertical mixing by tidal current. Especially, temperature and salinity of bottom water are changed with the change of depth around Biyang-Do. Thus, the front of temperature and salinity appeared clearly between shallow area with the depth of under 10 m and deep area with of the depth of more than 50m. Surface water in outside area where high temperature and low salinity water appear intrudes between Worlreong-Ri and Geumreung-Ri. Thus, the front of temperature and salinity was made along the line that connects from this coast to Biyang-Do, The temperature of the bottom water is $2^{\circ}C$ to $4^{\circ}C$ lower than that of the surface water and its salinity is $0.02\%_{\circ}$ to $0.08\%_{\circ}$ higher than that of the surface water even in shallow area.

• Korean Journal of Fisheries and Aquatic Sciences
• /
• v.8 no.2
• /
• pp.47-60
• /
• 1975

For the calculation of population parameter and estimation of recruitment of a fish population, an application of multiple regression method was used with some statistical inferences. Then, the differences between the calculated values and the true parameters were discussed. In addition, this method criticized by applying it to the statistical data of a population of bigeye tuna, Thunnus obesus of the Indian Ocean. The method was also applied to the available data of a population of Pacific saury, Cololabis saira, to estimate its recuitments. A stock at t year and t+1 year is, $N_{0,\;t+1}=N_{0,\;t}(1-m_t)-C_t+R_{t+1}$ where $N_0$ is the initial number of fish in a given year; C, number o: fish caught; R, number of recruitment; and M, rate of natural mortality. The foregoing equation is $$\phi_{t+1}=\frac{(1-\varrho^{-z}{t+1})Z_t}{(1-\varrho^{-z}t)Z_{t+1}}-\frac{1-\varrho^{-z}t+1}{Z_{t+1}}\phi_t-a'\frac{1-\varrho^{-z}t+1}{Z_{t+1}}C_t+a'\frac{1-\varrho^{-z}t+1}{Z_{t+1}}R_{t+1}......(1)$$ where $\phi$ is CPUE; a', CPUE $(\phi)$ to average stock $(\bar{N})$ in number; Z, total mortality coefficient; and M, natural mortality coefficient. In the equation (1) , the term $(1-\varrho^{-z}t+1)/Z_{t+1}$s almost constant to the variation of effort (X) there fore coefficients $\phi$ and $C_t$, can be calculated, when R is a constant, by applying the method of multiple regression, where $\phi_{t+1}$ is a dependent variable; $\phi_t$ and $C_t$ are independent variables. The values of Mand a' are calculated from the coefficients of $\phi_t$ and $C_t$; and total mortality coefficient (Z), where Z is a'X+M. By substituting M, a', $Z_t$, and $Z_{t+1}$ to the equation (1) recruitment $(R_{t+1})$ can be calculated. In this precess $\phi$ can be substituted by index of stock in number (N'). This operational procedures of the method of multiple regression can be applicable to the data which satisfy the above assumptions, even though the data were collected from any chosen year with similar recruitments, though it were not collected from the consecutive years. Under the condition of varying effort the data with such variation can be treated effectively by this method. The calculated values of M and a' include some deviation from the population parameters. Therefore, the estimated recruitment (R) is a relative value instead of all absolute one. This method of multiple regression is also applicable to the stock density and yield in weight instead of in number. For the data of the bigeye tuna of the Indian Ocean, the values of estimated recruitment (R) calculated from the parameter which is obtained by the present multiple regression method is proportional with an identical fluctuation pattern to the values of those derived from the parameters M and a', which were calculated by Suda (1970) for the same data. Estimated recruitments of Pacific saury of the eastern coast of Korea were calculated by the present multiple regression method. Not only spring recruitment $(1965\~1974)$ but also fall recruitment $(1964\~1973)$ was found to fluctuate in accordance with the fluctuations of stock densities (CPUE) of the same spring and fall, respectively.

• Journal of the Korean Society of Costume
• /
• v.22
• /
• pp.263-276
• /
• 1994

The achievement of notable social reoforms attained during the period of 19th and 20th centuries needlessly speaking remodelded the social environmental into several different patterns such as :1) high industrialization 2) propensity to consume 3) up graded overall social stands. Accordingly the industrial world of the but-tons too established the mess production syhstem by breaking from convention of hand-craft work of 17th century. The raw materials used in the production line on buttons during the 20th century are almost all-kind of materials one can possibly named including cheap plastic which enabled production lines to produce cheaper but higher productivities of the buttons being produced, The design (incused design) used in the 19-20h centuries are : men landscape, sports features, birds, livestocks, bugs, or geomatric features, tec, 1, The classification o f the buttons by materials Techniques shapes colors marking (Incused design) used in the productionof buttons in the England United States of America Laska Italy france Denmark Japan and India are categolizzed as : natural raw materials and syntetical resines. 1) Of the natural raw materials used are : Matal Enamel Iodine Agate, Coral, Green jade(Jasper) Granite, Wood, Ivory, Horn and bone etc. 2) The sythetical resin used in the button in-dustries are : Artificial jewell glass Acrylic material Styroform Celluloid and Nylon etc. 2. The thecnique quoted in producing buttons are hand craft work inlay work precision casting press mosic dye etching, processing, engraving and embossed carving etc. 3. The major designs used in the buttons in -dustries are : Round shape however elliptical column angular and edge shape often used. 4. The colors used are : The multi-colors were highly used than mono-colored materials such as : Adjoining Color and Contrast Color. The highest consideration to be considered in choosing the colors for the buttons are harmonization and matching factor with the garment or dresses to be wore. 5. The major design(incused design) on the buttons are embodiment and the design were also used in order of abstractive-combination abstractive with has offers much surprising. The button industries during the 19th and 20th centuries were not only the determination factors those can judge the value of self-pride of Nation and which were far beyond the in-dustrial arts in those days but also highly refelected and influenced by cultural sense ideology and self-pride of the Nation of those period. The followings are details of the role of the buttons categolized in the order of functional ornamental and symbolical aspects : 1. The functional role : The functional role of the buttons were simply designed for dress how-ever the buttons beyond from this role of function now a days. 2. The ornamental role : The ornamental role of he button beyond from this role of the button were effectuated by : 1) shape materials colors 2) technique locations size and design (incused design) 3) The ramaterials used for buttons shall not be over looked because it is highly depends on the taste sense and combination of harmony with the garment to be wore. 4) The color of the buttons are made well contrasted with the color of garments just as in the case of other artistical area such as matchs with the color of garment of contrast with brigtness of colors contrasted as complementary color and so and so. 5) The technique being adoped are: precision casting press handcraft inlay work etching mosic etc,. Since the buttons are no longer a simple catching devise used to fasten together the different part of the dress but now it has formed own and occupied the independent role in the garment or dresses location can be de-termined and varying depending on the ideas of designers. The size of the buttons has no specific limits, However the variation has widely dependined on the entire circumperence rhythm contrast harmonization of the garments. 3. The symbolical role : Since the button is no longer a just a simple devise for catching and fastening device used fastening together the different part of the garments but now were built a independent area as major part of the Garment and well reflected all kinds of occupations political background cultural as-pect etc. on the buttons. The design of buttons in the western circles are more simplified but they are polished looks and their techniques of manufacturing are comination of both machanis and handcraft. The colors used in the buttons are pretty well harmonized with garment(dress). Almost all kind of materials can be used in the but-tons however materials used in the buttons are : Bone of livestocks ivory, turtle shell are no longer used because the prevention of cruely of animal. On the contraly the level of buttons indus-try of Korea is far to reach and catch up with the level of western circles. It is highly suggested therefore the but-tons industrial field of Republic of Korea shall place and encouragement in producing beter industrial environment of the buttons based on the traditional and cultural aspect of republic of Korea to produce both manufacturing of qulified and best designed and colored buttons.

• Korean Journal of Fisheries and Aquatic Sciences
• /
• v.32 no.1
• /
• pp.98-104
• /
• 1999

To investigate the relationships between ocean environmental characteristics, the time-series data of temperature and salinity observed at a station near at Hanlim set net in 1995 and 1996 are analyzed, and the results are as follow ; 1. In hanlim set net, the diurnal range of temperature and salinity variation in summer is very large and the amplitude of short-period fluctuation of temperature and salinity is very large. That is, not only the water of the middle and bottom layers (low temperature and high salinity) but also the coalstal water (high temperature and low salinity) appears alternatively depending on the current direction 2. from the result of mooring for 22 days in Hanlim set net, the mean speed and direction of tidal current in neap tide were 9.1 cm/sec and south westward in ebb time, and 11.6 cm/sec and north or northeastward in flood time, respectively. The highest speed of the current was 15cm/sec in ebb time, and 22.6 cm/sec in flood time. The mean speed and direction of tidal current in spring tide were 10.4 cm/sec, and southwestward in ebb time, and 12.3 cm/sec, and north or northestward in flood time, respectively. The highest speed of the current was 19.4 cm/sec in ebb time, and 20 cm/sec in flood time respectively. The mean speed of the current in flood time was larger than that in ebb time. The velocity vector along the major axis of semidiurnal tide ($M_2$) component was 1.5 times larger than that of diurnal tide ($K_1$), The major directions of two compornants were northwestward and east-southeastward and residiual current were 3.25 cm/sec and northwestward-directed. Result of TGPS Buoy tracer for 3 days between Biyang-Do and Chgui-Do showed that the mean speed was 1.6 knot in ebb time and 1.3 knot in flood time. Direction of tidal was southwestward in ebb time and northeastward in flood time respectively. The maximum current speed was 4.8 knot in ebb time and 3.7 knot in flood time respectively. The mean speed and direction of tidal in of offshore were 1.7 knot and northwestward in flood time. The residual current appeared 0.3 knot northeastward.

• Journal of Intelligence and Information Systems
• /
• v.19 no.1
• /
• pp.79-94
• /
• 2013

Recently, the high value added business is steadily growing in the culture and art area. To generated high value from a performance, the satisfaction of audience is necessary. The flow in a critical factor for satisfaction, and it should be induced from audience and measures. To evaluate interest and emotion of audience on contents, producers or investors need a kind of index for the measurement of the flow. But it is neither easy to define the flow quantitatively, nor to collect audience's reaction immediately. The previous studies of the group flow were evaluated by the sum of the average value of each person's reaction. The flow or "good feeling" from each audience was extracted from his face, especially, the change of his (or her) expression and body movement. But it was not easy to handle the large amount of real-time data from each sensor signals. And also it was difficult to set experimental devices, in terms of economic and environmental problems. Because, all participants should have their own personal sensor to check their physical signal. Also each camera should be located in front of their head to catch their looks. Therefore we need more simple system to analyze group flow. This study provides the method for measurement of audiences flow with group synchronization at same time and place. To measure the synchronization, we made real-time processing system using the Differential Image and Group Emotion Analysis (GEA) system. Differential Image was obtained from camera and by the previous frame was subtracted from present frame. So the movement variation on audience's reaction was obtained. And then we developed a program, GEX(Group Emotion Analysis), for flow judgment model. After the measurement of the audience's reaction, the synchronization is divided as Dynamic State Synchronization and Static State Synchronization. The Dynamic State Synchronization accompanies audience's active reaction, while the Static State Synchronization means to movement of audience. The Dynamic State Synchronization can be caused by the audience's surprise action such as scary, creepy or reversal scene. And the Static State Synchronization was triggered by impressed or sad scene. Therefore we showed them several short movies containing various scenes mentioned previously. And these kind of scenes made them sad, clap, and creepy, etc. To check the movement of audience, we defined the critical point, ${\alpha}$and ${\beta}$. Dynamic State Synchronization was meaningful when the movement value was over critical point ${\beta}$, while Static State Synchronization was effective under critical point ${\alpha}$. ${\beta}$ is made by audience' clapping movement of 10 teams in stead of using average number of movement. After checking the reactive movement of audience, the percentage(%) ratio was calculated from the division of "people having reaction" by "total people". Total 37 teams were made in "2012 Seoul DMC Culture Open" and they involved the experiments. First, they followed induction to clap by staff. Second, basic scene for neutralize emotion of audience. Third, flow scene was displayed to audience. Forth, the reversal scene was introduced. And then 24 teams of them were provided with amuse and creepy scenes. And the other 10 teams were exposed with the sad scene. There were clapping and laughing action of audience on the amuse scene with shaking their head or hid with closing eyes. And also the sad or touching scene made them silent. If the results were over about 80%, the group could be judged as the synchronization and the flow were achieved. As a result, the audience showed similar reactions about similar stimulation at same time and place. Once we get an additional normalization and experiment, we can obtain find the flow factor through the synchronization on a much bigger group and this should be useful for planning contents.

• (The) Research of the performance art and culture
• /
• no.34
• /
• pp.277-313
• /
• 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.