• Review of Culture and Economy
• /
• v.17 no.2
• /
• pp.3-28
• /
• 2014

The characteristics of performing arts differ from those of utilitarian goods in terms of economics. Factors other than price need to be considered to understand the demand for performing arts. Audience surveys as well as econometric demand studies have confirmed that socio-economic factors such as age, income, employment, and education are major determinants of the demand for performing arts. This study focused on the attributes of concerts rather than consumer characteristics to determine the concerts audiences select in terms of transaction cost. Genre, price, internet search trends, and the purpose of performance as well as price are tested as determinants of demand by using the data set for a major concert hall in Seoul. Genre and the specific purpose of concerts influence the demand for concerts. Internet search trends of the performer are used as indicators of popularity and information exposure, which are positively correlated with demand. This result supports the hypothesis that larger audiences would attend concerts that require lower information search costs. To note, price has a positive effect on demand in the higher price range, which means that concerts at higher prices attract larger audiences, whereas normal goods have a negative slope in the demand curve. This result can be explained by the hypothesis that consumers use price as an indicator of the quality expected of a concert. Transaction cost for selecting classical concerts thus forms an inverse-U shape curve against ticket price. These results provide some explanation of why audiences of classical music choose to attend concerts at high ticket prices while offering evidence in favor of the hypothesis that performing arts are selected in a social context.

• (The) Research of the performance art and culture
• /
• no.43
• /
• pp.79-120
• /
• 2021

Nagyangchun is a Dangak that has been handed down to the present time with Boheoja as a Saak of the Song Dynasty which was introduced in the Goryeo Dynasty. The title and lyrics of Nagyangchun are conveyed in the Dangakjo of Goryeosa-akji and the Jeungbomunheonbigo. The remaining scores containing Nagyangchun include Akjangyoram, Sogagwonbo Vol.4 and Vol.6 of the Joseon Dynasty and Aakbu-akbo, the 6th Aaksaeng-gyogwacheol, Leewangjikaakbu-oseonakbo during the Japanese colonial period. Besides, the current melody of Nagyangchun is based on Hangugeumak and Gugakjeonjib published by the National Gugak Center. This paper aims to examine how Nagyangchun, which is currently being performed at the National Gugak Center, went through the process of change to have the same structure and form as it is now using these scores as a research subject. The study results are summarized as follows. First, the song of Nagyangchun, which was originally Saak but transmitted as an instrumental piece without lyrics, first appeared in the Hangugeumak Vol.16 and Gugakjeonjib Vol.7 published by the National Gugak Center in 1978 and 1979. In this process, the Janggu added by Kim Ki-soo is now disappearing and is replaced by Jwago. Second, though the five notes of 黃, 太, 仲, 林, and 南 have been maintained unchanged since the Akjangyoram, the pitch of 無/應 and 夾/姑, which appear once each, gradually rises and is unified into 應 and 姑 during the period of Aaksaeng-gyogwacheol or at the latest Leewangjikaakbu-oseonakbo, and reached the present. Third, the current melody of Nagyangchun consists of a structure in which the tones and range of each phrase rises within the form of Mijeonsa (a·b·c·d) and Mihusa (e·b'·c'·d'). Particularly, except for the a-type and e-type melodies, which are the introduction for the Mijeonsa and Mihusa, the remaining melodic types show a gradually descending structure within the corresponding phrase, so the structure of ascending and descending is generally in harmony. Forth, the Ganeum that appeared from Aakbu-akbo are currently classified into seven types, and they appear in ascending pitches of 2nd, 3rd, 4th, and 5th and play a role in smoothly or fluently connecting melodic progression. Fifth, after Akjangyoram, Nagyangchun, which had been handed down as an instrumental piece without lyrics, was restored in 1960 by Lee Hye-gu, and is being passed down as the form of male and female vocals added to the instrumental accompaniment. As a result of examining the current Nagyangchun, which was formed through the process of change after Akjangyoram, it was found that there were tasks that required reconsideration of the current Nagyangchun, which is being played at the National Gugak Center, such as the arrangement of Janggu, the identification of the key, and the investigation of the lyrics. When follow-up studies are continued in the future, it will be able to contribute to the cultural transmission of Nagyangchun.

• (The) Research of the performance art and culture
• /
• no.34
• /
• pp.9-42
• /
• 2017

Of all Geommu(劍舞, Korean sword dance), Gisaeng-Geommu danced by gisaeng(妓生, Korean female entertainers) for private guests and at the royal court. The Sword dance in the late Joseon Dynasty used to be dynamic exuding menacing "sword spirit(劍氣)." Sword dance being transmitted today is more ritualistic and elegant. This study considers Korean sword dance has a core structure and motifs transcending generational differences, and based on this critical thinking, aims to analyze the structure of Korean sword dance. This study analyzed the prose "Geommugi(劍舞記)" by Park Je-ga(朴齊家) and the poem "Mugeompyeonjeongmiin(舞劍篇贈美人)" by Jeong Yak-yong(丁若鏞) out of literary works from the late Joseon Dynasty, and from official records of rituals(笏記), "Geomgimu(Sword Dance, 劍器舞)" and "Geommu" in "Gyobanggayo(敎坊歌謠)." In the introduction part of Sword dance, a dancer appears, bows and performs a hand dance or hansam(汗衫) dance to and fro. In the development part, a dancer meets with a sword but first hesitates to hold it and dances holding swords in both hands. The climax shows expert sword skills and combat scenes. In the conclusion part, the court dance involves a dancer bidding a formal farewell, while the dance for entertainment, a dance throws away the sword to finish. From literature materials, the structure of Korean sword dance could be divided into an introduction, a development, a climax and a conclusion. Based on this, this study analyzed sword dance movements by linking the beats accompanying the current sword dance, in the order of a Yeombul, the traditional Korean ballad Taryeong or Neujeun Taryeong, Jajin Taryeong, Taryeong and Jajin Taryeong. The introduction part includes a Buddhist prayer and the beginning of Taryeong. Dancers appear, and in two rows they dance facing each other. On the slow beat, their dances are relaxed and elegant. The development part is matched with Jajin Taryeong. Dancers sit in front of swords and grab them, and they dance holding a pair of swords. The beat gradually becomes faster, progressing the development of the dance. But then, the slower Taryeong is placed again. The reason behind it is to create a tension for a little while, before effectively reaching a climax by speeding up the tempo again. Moving on to Jajin Taryeong, dancers' movements are bigger and more dynamic. The highly elated Jajin Taryeong shows dance movements at the climax on fast, robust beats. In the conclusion part, the beat is quick-tempo and on the upbeat again on Jajin Taryeong. Driving on without a stop on the exciting Yeonpungdae(燕風臺) melody, dancers standing in a line dance wielding the swords and bow before finishing.

• (The) Research of the performance art and culture
• /
• no.20
• /
• pp.339-367
• /
• 2010

Despite that it is relatively difficult to compare the movements in eastern and western dancing, this study approached hand-foot coordination movements, which involve lifting both an arm and a leg to stand on one foot, from a figurative point of view. In ballet, arabesque, developpe, and attitude were recognized as the example hand-foot coordination movements, and in Korean Dance, Oesawi, Gyeopsawi, and Meongseokmari of Mask Dance were classified into the hand-foot coordination movements. The figurative characteristics of these dances were approached from the aspects of racial traits, philosophies of dancing, and forms of movements. The following summarizes the findings about hand-foot coordination movements of this study. First, in relation to human physiology, eastern and western races have different traits. The forms of dancing have developed differently according to the builds and figures of dancers. Ballet is an elegant form of dancing using long legs and arms and its arabesque, developpe, and attitude movements emphasize stretching the body for an elegant and beautiful presentation. On the other hand, Korea was an agricultural society and lived closer to the land. As its people developed petite figures, its dancing movements, especially the hand-foot coordination movements, involved 'twisting' and 'walking down and up.' Second, despite that the hand-foot coordination movements are identical for east and west, ballet aims at the heaven and Korean Dance aims at the land according to the differences in the views of nature. Although the principle of hand-foot coordination movements is about aiming at the land, western philosophies and aesthetics pursue the heaven. Third, in ballet, the focus of beauty is the presentation of beautiful movements. Therefore, the hand-foot coordination movements precisely control the position and angle of arms and legs for the perfect balance of the body. On the other hand, the hand-foot coordination movements of Korean Dance are mostly rooted from natural daily movements and movements that enhance the efficiency of labor. Therefore, it is considered beautiful techniques even if the body looks rather unbalanced.

• (The) Research of the performance art and culture
• /
• no.36
• /
• pp.185-221
• /
• 2018

This study examined the process of the formation of Deoneum, Sugungga(水宮歌), and its tendency of the change through the trace of the Pansori masters who worked in 19th century. The time that the main group of the Sugungga masters appeared in the Pansory history is estimated in early 19th century. The Sugungga masters in this time could be divided in two groups, one is the early days masters who worked in early 19th century and the other is the latter days masters who worked in middle and late 19th century. Kwon Sam-deuk(權三得), Song Heung-lok(宋興祿), Yeom Gyeo-dal(廉季達), and Shin Man-yeob(申萬葉) are the Sugungga masters who worked in early 19th century. By the records they left, I could confirm that they used the description about the dramatic characteristics in the work and Soritjo(Pansori master's tonality), like the appearance of 'Bangge(crab)' and 'Tiger', and particularly they developed which has the scene of the Rabbit's deceiving the Dragon King and Rabbit's return, 'Goandaejangja(寬大長者)', 'Gaja-Eoseoga', 'Sojinowha(笑指蘆花)', 'Apnae-Beodeuleun' and the scene of 'Rabbit's curse(the part that Rabbit curses Byeljubu)' etc. I could understand that the interest of the early days Pansori masters about Sugungga is on the characters and the latter part of the work. The separation of Dongpyeonje(東便制) and Seopyeonje(西便制) of Pansori was done in the middle and late 19th century. As the Dongpyeonje master, Song Wu-ryong(宋雨龍), Park Man-sun(朴萬順), Song Man-gab(宋萬甲), Shin Hak-jun(申鶴俊) and Yu Seong-jun(劉成俊) worked. As the Seopyeonje masters, Park Yu-jeon(朴裕全), Kim geo-bok(金巨福), Kim Su-yeong(金壽永) and Baek Gyeong-jun(白慶順) etc. sang Sugungga. The Dongpyeonje masters developed the 'Toggigibyeon(토끼奇變)' related Deoneum paying attention on the latter part of Sugungga same as the early days masters. Meanwhile it looks like that they had interest in developing the parts which belong to the middle and early parts of Sugungga like 'Toggiwhasang(토끼畵像)', 'Gogocheonbyeon(皐皐天邊)' and 'Tobyeolmundab(兎鱉問答)'. The Seopyeonje masters developed the parts belong to the early part of Sugungga, which are related to Dragon King and the courtiers in Sugung palace, like 'YongwangTansik(龍王歎息)'. And I could confirm that they developed the parts influenced by Shin Jaehyo's editorials like 'Tosahobi(兎死狐悲)' and 'Goguksancheon(故國山川)' etc. In short, I could confirm the trend that the Pansori masters in 19th century had interest in from the latter part to the early part of Sugungga. If taking a look focusing on main characters, they moved their interest in from Rabbit to the courtiers including Byeoljubu(鱉主簿) and Dragon King in Sugung palace, and it could say that, in this trend, Sori part and Deoneum were developed.

• (The) Research of the performance art and culture
• /
• no.23
• /
• pp.185-212
• /
• 2011

Buddhist dance (seungmu) is a crux and highlight of Korean traditional dance; its aesthetics and technique are extraordinary, and Korean dance's unique style is well expressed. The Buddhist dance, which has been descended, is divided into Han Yeong Suk style, which is designated as Important Intangible Asset Number 27, and Lee Mae Bang style. While the two dances are same one, area is difference and they have unique style because of genealogical difference. However, studies on Buddhist dance so far have focused on single style's dance, or comparison of regional aspects (Han Yeong Suk dance is from Gyeonggi and Lee Mae Bang dance is from Honam area). But, Lee Byeong Ok suggested traditional artist dance is differed by male dance genealogy and female dance (gibang) genealogy dance, and while folk dance has storng tie with region, but artist dance has weak regional tie. Therefore, the purpose of this thesis is to study genealogical character of Buddhist dance's dancing style, clarifying Han Yeong Suk dance is male dance genealogy and Lee Mae Bang dance is gibang dance genealogy. In other words, among three theses that compared Lee Mae Bang and Han Yeong Suk dances, one analyzing movement, one comparing dance of invocation and one comparing traditional ballad, are re-analyzed from genealogical perspective and characteristics are comparatively analzyed. The overall summary of the genealogical attitude of the Han Yeong Suk and Lee Mae Ban dances is; First, Han's dance has masculinity, upwardness, progressiveness, activeness, outgoing character, boldness and grace, which are character of male dance lineage, while Lee's dance shows feminity, downwardness, backwardness, aesthecity, inwardness, delicacy and coquette. Second, the most expressed parts of the attitude of two dances are genealogical character, and then are original and regional characters. Third, two dances have strong genealogical attitude, but also has anti-genealogical attitude since the gender of descendent was changed, in other words Lee Mae Bang was man, and Han Yeong Suk was woman. Fourth, even though the two Buddhist dances have different genealogy and region, they share similarities as traditional dance descended in the same time period, so there are many common features. In other words, the two dances are Korean nation's dance and from same time period, but they should not be mixed, either. Even though they have small differences, they must keep each genealogy and descend to the next generation.

• (The) Research of the performance art and culture
• /
• no.20
• /
• pp.251-307
• /
• 2010

Manbojeonseo, a kind of an encyclopedia published several times in Ming Ch'ing dynasty, includes useful information for scholars and common people on daily lives. In 1720, Manbojeonseo was first introduced to Joseon(朝鮮) dynasty by the diplomatic corps visiting Ch'ing dynasty, and widely circulated in the society as an useful information magazine or an individual collection of reference book. Since Manbojeonseo includes the systematically-organized contents of Geumdoron(琴道論, a theory of a heptachord), it could provide a useful reference when the Geumdoron was inserted as the contents of old scores. For an instance, Obultan(五不彈), Tangeumsuji(彈琴須知), and Taeeumgibeop(太音紀法) recorded in Hangeumsinbo(韓琴新譜, 1724) clearly acknowledge Manbojeonseo as their common source. In this paper, the order and the contents of Geumdorons from four different Manbojeonseo are compared. At first, the comparative analysis of Manbojeonseo (1610) edited by Seo Giryong(徐企龍) and Manbojeonseo(1612) edited by Yu Jamyeong(劉子明) are carried out focusing on the contents of the Geumdoron, where both Manbojeonseos contain considerable amount of Geumdoron sections. The tables of the contents in both Manbojeonseos are composed of upper and lower levels classified into 4 large divisions for each. While the contents of the upper level is presumably older and focused more on the theory of the cardinal virtues, the contents of the lower one is relatively new and centered more on the skills for the real play of a heptachord(琴), the lyrics and the musical scores composed of Gamjabo(減字譜). Therefore, it could be said that the upper level is metaphysical while the lower level is physical. One of the differences between those two Manbojeonseos lies in the order and the terminology found in the large divisions. In the case of Manbojeonseo(1612), some terms in the large division represent and theoretically group the detailed descriptions in the small divisions such as 5 demands or 7 taboos in the play of the heptachord. In addition, a few lower divisions were newly added or revised in order to enhance the completeness of Geumhangmun(琴學門, study of a heptachord), and the detailed classification was revised and polished to improve the reasonableness. In Manbojeonseo(1614) composed by the same editor as Manbojeonseo(1610), the contents of the Geumdoron become much briefer than those of Manbojeonseo(1610) and Manbojeonseo(1612). In the case of Manbojeonseo(1739), a new type of the Geumdoron is included called Oeumjeongjobo(五音正操譜) while carrying a similarly brief section of the Geumdoron. Finally, the Geumdorons in Manbojeonseo and several old scores are comparatively analyzed. While the Geumbo(琴譜) owned by Gugagwon(國樂院) and Hangeumsinbo contains relatively old Geumdoron, Yuyeji(遊藝志) and Bangsanhanssigeumbo(芳山韓氏琴譜) adopt practical and relatively new Geumdorons different from the former old scores and similar to Manbojeonseo(1739) considering the order and the contents. In particular, the contents of the Geumdoron in Geumheonakbo(琴軒樂譜) is notably unique containing much of the upper and the lower levels of Manbojeonseo(1612), therefore thought to have actively adopted the contents of new Geumdorons.

• (The) Research of the performance art and culture
• /
• no.32
• /
• pp.465-488
• /
• 2016

This paper attempts to read in different ways and to interpret newly on Cheoyongrang mhang-hae-sa in "Sam-guk-yu-sa". Ulsan have held Cheoyong Cultural Festival for 47 times according to "Sam-guk-yu-sa". However, there have been a frequent identity crisis about Cheoyong Cultural Festival because of controversial issue about Cheoyong, This paper interpretate Cheoyongrang mhang-hae-sa newly to overcome these crisis, Cheoyong's dancing and retreating was not the resignation and tolerance, but the treat and warning, as the dance of Namsansin god of Posukjeong, Buk-acksin god of Keumkangryung and Jisin god of Dongryejeon was the warning of Silla's ruination. 'The Mhang' of Mhang-he-sa temple should be interpreted not as 'watch' but 'fifteen days'. Mhang-he means the roads buried in darkness and vanished had become a sea. The name of Shin-bhang-sa temple means Gae-un-po province of Ulsan had become 'the newly purified region' because of the inspection of King Heon-ghang. The main keyword of Cheoyongrang mhang-hae-sa is 'Byuk-sa-jin-gyung'. 'Byuk-sa-jin-gyung' means to repel the impious and pray the pleasure. The purpose of the personal Gut and national Gut, Narae, was also 'Byuk-sa-jin-gyung'. The reinvented bridal room with a fresh life was like the world of Byuk-sa-jin-gyung. The dance of God Sa-bhang was, as well the desperate desire to New Silla. Cheoyong was a shaman with a superior authority who set up the power to foresee to the god of smallpox. The image of Cheoyong at is not the resignation and tolerance, but the foresight and authority. Therefore, the slogan of Cheoyong Cultural Festival, the resignation and tolerance, should be reexamined. The new Cheoyong Cultural Festival should adopt the concept of foresight and authority and Byuk-sa-jin-gyung. Cheoyong Cultural Festival, have been held for 49times, often had identity problems. The identity of Cheoyong have been misinterpreted as the resignation and tolerance. The slogan of Cheoyong Cultural Festival should be reexamined. The new Cheoyong Cultural Festival should adopt the concept of foresight and authority and Byuk-sa-jin-gyung.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.701-748
• /
• 2019

Gwanak-yeongsanhoesang, called as Samhyeon-yeongsanhoesang or Pyojeongmanbangjigok, is played by the musical instrumental organization, Samhyeonyukgak or by a large scale wind ensemble added Sogeum and Ajaeng. This study aims to analyze the structure and form of Piri melody which plays major melody of Sangnyeongsan in Gwanak-yeongsanhoesang, and to examine the relationship between Piri melody and Daegeum yeoneum grasping the structure and function of yeoneum. In Sangnyeongsan of Gwanak-yeongsanhoesang, the criterion for grouping the phrases of Piri melody is yeoneum. Especially, Daegeum yeoneum carries out the function of finishing the phrase of Piri playing the major melody by ornamenting or extending it, and presenting the motives or motive elements of the next phrase while Piri rests. The types of a, b, g, and i in the various shapes of the minimum melodic fragment of Piri are important motive elements that constitute a phrase of Piri melody. Especially, main motive a-type (仲→無) contrasts with b type (林→潢) which forms a strong tension by transposing 2 degrees upward. In addition, a-type gradually descends towards the end of music by changing to g-type (仲→林) or to i-type (太→林) which is 3 degrees below, which is related to the gradual descent cadence of Korean traditional music. A phrase of Piri melody of Sangnyeongsan in Gwanak-yeongsanhoesang consists of a combination of the types a, b, g, i, and cadence (x-type), and each phrase is structured in the repeating tension-relaxation. Looking at the structure of Piri phrases by similar types, each phrase has a logical variation structure through the methods such as omission and addition of notes, and crossing of melodies. The shape of the minimum melodic fragment of Daegeum yeoneum can be divided into a back-yeoneum of a~b types and a front-yeoneum of x1~x3. The x-types ornament Jungnyeo (仲), the cadence tone of Piri melody or are simply used as the extending back-yeoneum, and types a and b have the function of a front-yeoneum that prepares the beginning of the next phrase of Piri melody. The combination types of the minimum melodic fragment of Daegeum yeoneum appear mostly as the shape of back-yeoneum + front-yeoneum. In addition, the front-yeoneum of the type a and b appears independently without back-yeoneum, and the x3 type has a shape of the back-yeoneum without the front-yeoneum. Looking at the structure of Daegeum yeoneum by similar types, it can be seen that Daegeum yeoneum is also composed of a variation structure of omission and addition of notes like Piri melody.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.69-96
• /
• 2019

North Korea has conserved operas in a selective manner. The subject matters of operas recorded in the history of North Korea can be divided into classical tales, translated foreign works, Korean War and war against Japan. Operas that adapted folk classics of the 1950s are considered valuable materials to verify the changes of genres posterior to division of regime between North and South Korea. The officially confirmed works include "Kumgangsan Palseonnyeo (Gyeonwoo Jiknyeo)," "Chunhyangjeon." "Kongjwi Patjwi (Kotsin)," "Ondal," and "Geumnaneui Dal." These works had gone through recreation in terms of realistic situation setting, abolition of class difference, adjustment of social rank and punishment of evil while the base lies in the original folk classics. People emphasized in adapted folk operas are described as those who are hard-working souls without giving importance of difference of social rank, content with the currently living space, devoted to their parents and full of patriotic spirit, and members of community who participate in organized fights against unfair exploitation. This was the fruit of encouragement of work creation supporting union between labor and individual life, destruction of old things and fight promoting this destruction. Folk operas of South and North Korea posterior to Korean War have similarities in that both deal with a love story transcending social ranks and the concomitant conflicts and they focus on the audience who enjoy the operas. Nonetheless, they are different in that this love in North Korea became a tool of educating people wished by the regime, while it became an object of securing the audience by adding the tragic element to love in South Korea. North Korean operas of the initial stage are characterized by playwriting method emphasizing difficult life and compensation of common people, realistic stage expression, accentuation of melody and agreement between notes and lyrics. This was efforts designed to continuously lead senses concentrated from the theater to everyday life of people. In effect, this is in line with the playwriting method of revolutionary operas. Adapted folk operas were subject matters ideal for easily approaching the audience and leaving them good memories at the same time. To realize socialist realism, they went through an experiment of reviewing "people" through the classic folk operas. The possibility of continuation of a work was determined by thorough evaluation after carrying out an experiment in terms of subject matters, theme, music and operation plans from the moment of which the work was on the stage. The sign consisted in the possibility of visit of "Kim Il-sung" to appreciate the work and presentation of directionality. By proposing the clear directionality of which hard-working people who deny social status system can be duly compensated, it encouraged the audience who saw the opera to voluntarily put this in practice. Thus, operas established the directionality through selective processes for creating public communion even before revolutionary operas.