• Journal of the Korean Society for information Management
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• v.19 no.3
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• pp.5-30
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• 2002

In this paper, classification feature is selected with focus of musical content, note sequences pattern, and measures similarity between note sequences followed by constructing clusters by similar note sequences, which is easier for users to search by showing the similar note sequences with the search result in the CBMR system. Experimental document was $\ulcorner$A Dictionary of Musical Themes$\lrcorner$, the index of theme bar focused on classical music and obtained kern-type file. Humdrum Toolkit version 1.0 was used as note sequences treat tool. The hierarchical clustering method is by stages focused on four-type similarity matrices by whether the note sequences segmentation or not and where the starting point is. For the measurement of the result, WACS standard is used in the case of being manual classification and in the case of the note sequences starling from any point in the note sequences, there is used common feature pattern distribution in the cluster obtained from the clustering result. According to the result, clustering with segmented feature unconnected with the starting point Is higher with distinct difference compared with clustering with non-segmented feature.

• (The) Research of the performance art and culture
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• no.32
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• pp.333-370
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• 2016

This study examines self-reflexive scenes of Changgeuk [창극; Korean classical opera] Seopyenje [서편제]. This show deals with Pansori [판소리; a kind of Korean folk play] and its singers. The uniqueness of this show is that although it is a new creative work of Changgeuk, the traditional Pansori music is used intactly. These characteristics are related to some self-reflexive scenes in the show: the narcissistic reference of Pansori makes to seem that this show inherits a artistry of Pansori; a play within a play and a role-play reinforce a reality on the action and characters of outer play; an intertextuality, bringing the narrative and music of Pansori Simcheong-ga [심청가] in this show, it makes audiences spontaneously discover a connection between the cited original text and the hypertext. Namely, the self-reflexivity of Changgeuk Seopyenje doesn't destroy an illusion, but rather it presents a kind of conservative self-reflexivity which uncovers a part of tricks for the illusion in order to create new illusion.

• Journal of the Korean Society of Costume
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• v.60 no.6
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• pp.62-73
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• 2010

The purpose of this thesis is to make an effective Korean Hip Hop culture and suggest a new style direction in classifying the types of fashion styles of the Hip Hop musicians and studying their features. They are surveyed in stage costumes, hair styles, make-ups, accessaries, and total fashion styles, and then classified into Normal Hip Hop Style, Casual Hip Hop Style, Sporty Hip Hop Style, Mix & Match Hip Hop Style, and Classical Hip Hop Style. The results of the study are as follows: First, Normal Hip Hop Style is the most general and universal Hip Hop fashion type. They wear clothes in bigger sizes and exaggeratively. And also a cornrow hair style, a tattoo, and a piercing represent marked individualities. Second, Casual Hip Hop Style is more active and practical than Normal Hip Hop Style. Their blue jeans and T-shirts express more simple and polished style. And also they make variable fashion styles and hair styles such as a cornrow hair and a buzz cut. Third, Sporty Hip Hop Style is from B-boy's clothes when they do active and violent break dancing. As NBA basketball games are popular, they wear training clothes, breeches, big T-shirts, and jumpers & caps on embroidered sport team's names. Their hair style is short or natural and also they have caps or hoods to present active mood. Fourth, Mix & Match Hip Hop Style is existed variable elements in one style. The typical type of this style is jacket & blue jean. It is characterized by dress shirts, neck ties, blue jeans, sneakers, beards, and moustaches. Fifth, Classical Hip Hop Style is from African Americans. They try to express assimilated appearance of Anglo-Saxons. They wear black suits, shoes, hats, and sunglasses to represent formality and elegance. In the above results, there are variable fashion styles in one Hip Hop music genre and also fashion style is changed with musical inclination. This thesis is an important guide to produce variable and creative Hip Hop fashion styles in Korean Hip Hop culture.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.287-326
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• 2016

This study describes the acceptance of Hae-Dong-Yu-Yo(海東遺謠), which is a book the 19th century to 20th century, into the genre of poetry. In chapter 2, I searched for lists, constructions and arrangement of poems in Hae-Dong-Yu-Yo(海東遺謠). The book has not only 39 poems (gasa) in Korean, but also more than 20 poems (hansi) in Chinese. I also found two new poems by the editor of the book. This shows that the receiver fully accepts the poetry and that he has equal consideration for Korean songs as well as hansi ones. In chapter 3, I focused on the red and blue points inside letters. When we read only the red and blue points within the poetry, I realized that Hae-Dong-Yu-Yo(海東遺謠) created these for poetry's literary value, not for music or songs. This reveals how the editor of Hae-Dong-Yu-Yo(海東遺謠) received the older famous poems as his own. This shows us the degree of acceptance of Korean classical poetry and songs, and therefore leads us to believe that this can be of use to present learners as well.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.65-77
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• 2014

This paper is on the reproduction of kwanmo, which is worn by the dancers in Taepyeongjiak at the National Classical Music Institute, focusing on Jinhyunkwan, Pybyun, Buyongkwan. Taepyeongjiak is a performance of the court banquet called Hoeryeyeon held during the 15th year of Sejong'reign(1433). The Hoeryeyeon performances were held on January 1st and December 22nd, to strengthen the good relationship between the King and his officials. The reproduction of kwanmo worn by the dancers was reproduced for the modern performances on the basis of the literature and relic research. The results of the study are as follows. Jinhyunkwan is the kwanmo that is associated with the literature and it comes from an old Chipokwan, is confirm that liang(梁) of Chipokwan's characteristic vanished. Pybyun is kwanmo which is associated with the military, comes from Jeolpung. The incision line was formed to make the corn shape, and this became the liang(梁). Buyongkwan is corolla adorned with lotus, and is highlighted with colored string of beads. Unlike other corollas, its gilt lotus was adorned with purple-yellow braids.

• Structural Engineering and Mechanics
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• v.54 no.6
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• pp.1097-1109
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• 2015

A novel optimization approach for reinforced concrete (RC) biaxially loaded columns is proposed. Since there are several design constraints and influences, a new computation methodology using iterative analyses for several stages is proposed. In the proposed methodology random iterations are combined with music inspired metaheuristic algorithm called harmony search by modifying the classical rules of the employed algorithm for the problem. Differently from previous approaches, a detailed and practical optimum reinforcement design is done in addition to optimization of dimensions. The main objective of the optimization is the total material cost and the optimization is important for RC members since steel and concrete are very different materials in cost and properties. The methodology was applied for 12 cases of flexural moment combinations. Also, the optimum results are found by using 3 different axial forces for all cases. According to the results, the proposed method is effective to find a detailed optimum result with different number of bars and various sizes which can be only found by 2000 trial of an engineer. Thus, the cost economy is provided by using optimum bars with different sizes.

• Journal of Fashion Business
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• v.25 no.1
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• pp.133-149
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• 2021

This study presents a new fashion wearable product, a classical music stage costume design, using an Arduino LilyPad that can control light-emitting diodes(LEDs) and a sound sensor that can set an environmental range of LED light. As a theoretical background, LED fashion design research and stage costume design research status were reviewed, and Arduino LilyPads, sensors, LEDs, and batteries required for LED stage costume production were investigated. Based on prior research, the LED stage costume design for the soprano stage was presented in a three-step process of design planning, development, and production, and an actual prototype was produced. This process produced meaningful information and materials for making clothes with the added function of a wearable computer. In particular, fashion designers or fashion majors can easily access the Arduino LillyPad and use not only LEDs, but other light emitting materials. It is expected that it will be used as a basic material for the use of the Arduino LillyPad that can develop new creations that have been utilized.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.5-42
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• 2005

Based on a field investigation of intangible cultural asset # 2, author Sir Shin Seok-bong of Daejeon Metropolitan Cityinvestigated the music of Antaek-gut, which is the base and core of Anjoon-gut, and found the following musical features: A Jang-gu(drum) and Kkoaengkwari(gong) were used to recitethe Sutra(kyungmoon) of Anjoon-gut. The Jang-gu, located on the right side, played an accompaniment role with regular beats when the Sutra was recited. The Kkoaengkwari, located on the left side, played the role of covering the caesura of the Sutra passages, so it is played with various rhythmic variations in accordance with Kojang(鼓杖). This is one way of playing Korean national classical music that has temporary caesuras, depending on the rector's bre! ath or the contents of a Sutra during the Sutra chanting, with the Jang-gu covering the pause with its variation. In other words, when being played in concert, the instruments that play the main melody are at rest while another instrument takes its turn to play the main melody as a form of prolonged sound. The rhythmic cycles of the sutras of Antaek-gut recited with this instrumental accompaniment consist of five types; a) Woemarch-jangdan (a single beat) of 4 meter by 3 bit, b) Dumarch-jangdan (two beats) of 8 meter by 3 bit, c) Saemarch-jangdan (three beats) of 4 meter by 3 bit with a fast tempo, d) Mak-gojang, uniform beats with a standardized rhythm, and e) incomplete beats deviated from the regular beats. Sir Shin Seok-bong chanted Chang (唱), a traditional native song which he called 'Cheong (淸)' with a cycle of 'Dumarch-jangdan' throughout the places of Antaek-gut. Only 'Toesonggyung' a chant for the gate that was the last location of the Antaek, was chanted with a cycle of 'Woemarch-jan! gdan'. In addition, 'Saemarch-jangdan' and 'Mak-gojang' that had comparatively faster tempos than the former two jangdans, were played without a chant when a female shaman was dancing and catching her spirit-invoking wand. The 'Saemarch-jangdan', particularly, was played while dancing began at a relatively slow tempo, then proceeded at a violent tempo and then back again to the slow tempo. This shows one of the representative tempos of our music with a slow-fast-slow tempo. The organizational tones were 'mi-la-do'-re'', and its key tones of 'mi-la-do'' were performed with perfect fourth and minor third, which was the same as those of Menari-tori. However, it did not show a typical Sigimse, an ornamental tone, of Menari-tory, whose first tone, 'mi', is vibrated and its Sigimse is gliding down from the tone 're' to 'do'. That is because the regional tone-tori of Chungcheong-do have a relatively weaker musical expression than that of Gyeongsang-do. In addition, the rhythmic types in accordance with the words of a song for the Antaek-gut music had a comparatively faster tempo than the other sutras. Also, it was only with 'Toesonggyeong' that the tone 'la' continuously appeared throughout the melody and showed 'a syllabic rhythm', while other places consisted of either a 'syncopation' or 'melismatic' rhythm. Finally, according to a brief investigation of the tone organization in accordance with each sutra, the tone 'la' was given more weight. The tone procedure showed a mainly ascending 'la-do'' and the descending 'la-mi' with minor third and perfect fourth. Also, the overall tempo proceeded with M.M.♩.=116-184, while the tempo for the Gut proceeded with M.M.♩.=120-140, which was suitable for reciting a Sutra.

• Sijohaknonchong
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• v.30
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• pp.165-188
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• 2009

This paper is an analysis about Ahn, Jasan's theory of Sijo. He comprehended that Korean classical poetry is not a literary genre written in letters but a music genre sung orally, because he minutely investigated old books under the situation without preconceptions. Ahn, who had a thorough knowledge on our native music or literature, had an exact recognition about Sijo. He had analyzed existence of Sijo after commenting Sijo's true nature, whenever he discuss. His attitude was possible for his recognition like that. The first step of Ahn, Jasan's theory of Sijo is source of Sijo searched for identity of Sijo. Generic source, metrics, poetical idea, and history are written well in the paper. Establishment of Sijo's poetic identity is second step's discourse about Ahn's theory of Sijo, the contents are integrated in his book Poetics of Sijo poetry. He became to discuss Sijo as a regular poetry, even in this book. Especially a minute discussion about theory of Sijo's phrase and lines was accomplished in this time, theory of metrics based on meter and rhythm was a core discussion of this time too. Although his scholarly opinions are not refined comparing to the scholars of later ages, we can say that his opinions clearly worked a role of exemplary precedent. His opinions were other scholars ahead, nevertheless he had been neglected by researchers for not belonging to major group against his will. For this reason, I think Ahn's status in history of Sijo study has to be readjusted.

• KIEAE Journal
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• v.8 no.2
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• pp.11-21
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• 2008

The purpose of this study is to interpret the visual and auditory images and cognitive characteristics about townscapes in Namwon city. It was acquired the survey results about 8 types of verbal interviews and 2 kinds of sketch maps which are based on urban images from 102 Namwon residents. They held in a variety of images of Namwon in their minds such as Jiri mountain, clean environment, sightseeing, special products, urban/building structures, Korean classical music, historical novel, local sports, and emotional images. The nice streets or places which the residents recommended are the places which have abundant natural areas, psychological peace and rest, available space for physical activity, places for performances and events, and regional attractions. The streets or places which they didn't like are decadent places, and areas of crowded traffic. The transition times of visual and auditory scene can be classified with the Saemaul movement in the 1970's(the rural new community movement) and the improvement of the city in the 1990's. The elements of visual images in Namwon city on the basis of the cognitive maps were expressed such elements as paths, districts, nodes, edges, and landmarks. The elements of auditory images, which are on the basis of the concept of the soundscape, included sounds of narrative musical form unique to Korea; p'ansori, sounds of traditional markets, and sounds of nature. It was found that the imageability of visual and auditory images is relatively clear in specific areas in Namwon city.