• Journal of architectural history
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• v.8 no.4 s.21
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• pp.81-94
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• 1999

The purpose of this study is to interpret a house as material into culture. Main method is an ethnographic interview with dwellers as a part of a participant observation, a kind qualitative study. Significantly two different types of folk housing are discovered in East and West areas of the Cheju Island. In the East, kitchen itself forms a separated building, Jeongji-gori, whereas in the West, kitchen is within a main building, An-gori. Different type of kitchen is formed by the different family system. While independent family system of son and father selects a separate kitchen building as a general rule of Cheju Island, an extended family system between father and son selects same kitchen, Jeongji-gori, in the east area. Natural environment of infertile soil of east area makes family work together and eat together. Inner space of the kitchen building is utilized not only in cooking but also in eating, working, and sleeping. In order to explain folk house type, a 'culture area' concept is suggested. The interrelated 'cultural type' of architecture behind a physical surface 'type' is suggested as a new typology.

• (The) Research of the performance art and culture
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• no.38
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• pp.111-142
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• 2019

Saeteo-gaeulgut-nori(Play) is derived from the fact that the folk song that was played when harvesting in the Shinhori (aka Satter) in Chongdong, Miryang City was associated with the play and played a sacrificial feast at the end of autumn threshing. Saeteo-gaeulgut-nori(Play) consists largely of three chambers. The first one is the entrance gut, 2) the second one is SeonghwangGosa(城隍告祀), 3) the sound of bench threshing(空床 打作), 4) the harvesting chapter 5) the dry grass threshin, 6) the wooden millstone play, and the third one is 7) Pan-gut. Milyang has developed a sense of agriculture to the extent that both the Sangwon play and the Jungwon play are designated as intangible cultural properties. Especially, since the tradition of the House of Representatives is weak nationwide, the status of Milyang Saeteo-gaeulgut-nori(Play) has a very important value. The overall sound of the autumn good play is that the characteristics of Gyeongsang Folk Song are rooted in the structure of the menaritri, It has the characteristics of folk songs well.

• CELLMED
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• v.9 no.1
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• pp.4.1-4.2
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• 2019

The aims of this article is to argue that the effect of catharsis through satire and humor in Korean music, Saseolnanongga. This song is a cheerful song of four beats and the representative rap music of Korean traditional music. This song is a folk song that reveals satire and humor such as curse to the person who left me and compassion and self-absorption. The lyrics harmonize with cheerful rhythm and create laughter and the lyrics of the song itself alone cause music therapy. The contents of the lyrics of the song are already refreshing. It means that you will be able to satisfy your surrogacy through the explicit lyrics. In this way, author thinks emotional expression through singing lyrics is an alternative solution. There has been a cathartic element in many twentieth-century approaches to psychological healing. The author thinks developmental criticism leads society to health, and satirical criticism reflects and heals individuals through catharsis.

• Sijohaknonchong
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• v.25
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• pp.145-174
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• 2006

The purpose of this study is to research the correlation of Sijo with Akjang. In Joseon Dynasty, the contact of folk music and court music was brisk. Although they had some political premises, many Jeongjaes presented in the royal court parties accepted Gagok, one of the representative folk song genres. It was an eye-opening matter. The song words sung by Gagok music accompaniment were the lyrics of Sijo. We can give Sijo that was used in diverse royal court parties as an typical example about introduction of folk music to the court music. A lot of Goryeo Dynasty's Jeongjaes were introduced to Joseon Dynasty nearly as they are. Naturally so most Sokak-gasas were. Bukjeon was sung to Jinjak tune which Jeong-gwajeong was sung. Bukjeon in the music book Akhak-Guebum is a long song, but instead Bukjeons in the music book Geumhapjabo and Yang'geum-sinbo are short. It suggests that the poetic form of Sijo was introduced to the Lyric of royal court music from a point of time in the early Joseon Dynasty. Especially, Bukjeon had been continued to the late Joseon Dynasty after exchanging to the lyric form of Sijo. Bukjeon had been used In the royal court to the first half of Joseon Dynasty It became established in the repertory of Gagok after spreading to people out of court. Turnover from the long Bukjeon to the short was a result that the folk music influenced royal court music. Bukjeon. song words praying King's longevity. was used in the diverse situations such as a small royal parties, royal archery, and King's outing. It can be a clue that the Korean song words continued to late Joseon Dynasty were used for the lyric of royal court music. In the correlation of the poetic form of Sijo and Akjang, we can find out some characteristics different from our common sense to distinguish royal court music from folk music.

• Sijohaknonchong
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• v.22
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• pp.143-171
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• 2005

Sip and Byul-Gok (New tunes), as folks musics, are musical concepts opposite to that of the Court musics. They have the tunes. typical and universal. and Byul-Gok for singing. has the words in which the properties of melodies in the structures of compositions are reflected harmoniously. The Song. or Shiga. in Koryo-Sa, History of Koryo. Acjee and Acjanggasa. named ByulGok. is divided into two types. according to the characteries of the forms.: Koryo Sokyo. or the folk songs in Koryo. such as Chengsanbylulgok. and Segyoungbyulgok. and Kyonggichega, or nobility songs in Koryo and Chosen Dynasty. such as Hallimbyulgok. Kwandongbyulgok. and Jucgyebyulgok. In addition. Gasa. or the nobility and folk songs in Chosen Dynasty. such as K wandongbyulgok. also has the title. Byul-Gok. Even though these types of the songs have the same tittle. Byul-Gok, it is not appropriate that Byul-Gok is used as a term described as a branch of the literature: in light of music. they have the properties in common in the sense that they are opposite to the Court music. but. in light of literature. their forms are very different from one another. Therefore, it is appropriate that they are classified according to the characteristics of the forms, winters, the ideology of people who enjoy them, and periods: Sokyo, Kyonggichega, and Gasa. Byul-gok means not only the folks songs opposite to the court musics, but also the songs by setting words to the melodies present. Orignal tunes and their new tunes are not different musical compositions, but the same ones with the melodies which Korean acquired transcendentally. It is general tendency, at those times, that after compositions were made, words are set to them. Such words represent the politic thought in which courtesy and music are considered important. and the spirit with which the ruler and the people enjoy together.

• CELLMED
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• v.6 no.2
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• pp.8.1-8.2
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• 2016

The purpose of this article is to argue that Arirang, Korean traditional music, could be used for healing purposes for Koreans. Music may be a medicine for curing both the body and mind. That is the soul of folksong. Arirang is a representative folksong in Korea. Koreans thought that listening to Korean traditional songs and singing them have healing powers because it makes people happier. When Koreans listen to Arirang, slowly as if they are mass hypnotized, Koreans calmed down because they think of mother's bosom while listening to Arirang. Also, Koreans find comfort in listening and singing to Arirang. The song's tune is catchy and its lyrics are moving. The song of Arirang was sung from long ago by Koreans. Therefore, it will continue forever as long as Koreans exist.

• (The) Research of the performance art and culture
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• no.32
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• pp.171-208
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• 2016

Female folk song singers do not necessarily recognize the indigenous elements, which are, however, naturally reflected in the narration in the context. Singers of Taebaek Ararei recognize the dialect, the tone and the song when performing. Traditional Ararei had been performed by singers in the village of slash-and-burn field in Hwangji. Cheolam and Jangseong do not have their own traditional songs sing they are mining regions but had adopted songs from other areas including Gyeonggbuk, which still remain as alternative versions. Many elements of Jeongseon Arari and Samcheok Menari are in the narration and the songs. In terms of the context, alternative versions of Ararei are old Arirang melodies from slash-and-burn fields and were confirmed to be a very old form of oral folk songs in Gangwondo. Female singers of 3 generations, Hwaok Mun, Geumsu Kim and Hyojeong Kim, who keep the tradition and identity of Taebaek Ararei, show the integration of the past, present and future of Ararei. The Ararei Preservation Society continuously organizes singers' performances and maintains the tradition. The singer Hwaok Mun was born in Taecheon, Pyeongannamdo and moved to south at 5 and lived in Hajang, Samcheok and then moved to Jangseong and lived in Jaemungok. She is a mother of 6 children and has been a farmer for most of her life. She currently resides in Mungokdong and would sing Ararei at village feasts or events. She says she learned the song naturally because Ararei was sung very often in the past around Taebaek area. She is a typical native Arirang singer. The singer Geumsu Kim is a daughter of Hwaok Mun and leads the Taebaek Ararei Preservation Society to study, maintain and introduce the sound of Taebaek(Taebaek Arirang). She introduces Miner Arirang and Taebaek Ararei to the society members and the local residents. The singer Hyojeong Kim is a granddaughter of Hwaok Mun and follows the tradition of her grandmother and mother while adopting more modern Arirang contents.

• (The) Research of the performance art and culture
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• no.20
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• pp.129-161
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• 2010

Women's social status is marginal in the patriarchal system, therefore it is not easy to express their's desire. Women's social role are restricted by the Confucian culture in the late of Chosun Dinasty. But women freely expressed their's gamseong(感性) by singing the folk songs. Many researches have focused on the reality of life or the structure and meanings of the women's folk songs. On the contrary, no one has paid attention to the gamseong in the women's folk songs. This is the reason why this thesis focused on the aspects of gamseong in the women's folk songs. The aspect of gamseong expression in women's folk songs can be classfied as follow: HAN(恨) resulting from living with one's husband's parents (Si-jip-sa-ri); LONGING caused by parting with the lover; HOPE due to childbirth and bringing up; SHIN-MYOUNG(神明) through deviation and liberation. In conclusion, We can find out women's gamseong would be formed from the their own roles and relationship with the others. Besides they could offset their sorrow and cure their pain through loving others and selfloving.

• The Journal of the Korea Contents Association
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• v.8 no.6
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• pp.269-280
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• 2008

This study was intended to reconsider the work song in the modem children's life and to search its utilization plan. For it, folk songs were collected from internet website("Search for Korean Forlk song") and books, then the proper work songs suitable for the purpose of the study were selected. Selected work songs were reformed in order to utilize in a daily life including infant daily life and play in the home with mother. That is, the work song was presented to be utilized while changing a diaper, massaging, taking a rest, letting children take a nap, whispering in the children's ears, taking a bath, exercising after the bath, doing a body play, and facing each other.

• Journal of Korean Society of Industrial and Systems Engineering
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• v.32 no.1
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• pp.44-51
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• 2009

A bonded warehouse is the warehouse located in bonded area. It functions not only as a general warehouse but also as a place for managing the work related to import and export bonded goods. As a general warehouse, it uses the rack system to store the goods and the folk lift truck to move the unitized goods. The operation of the storing system closely related to the efficiency of space uses in a warehouse and vehicle working. Thus, vehicle performance measured in distance units in the ware-house could be used as one of the key performance measure in warehouse system. This paper focuses on the operation efficiency of the bonded warehouse which uses rack system for the storing and the folk lift truck for moving goods. The method of load allocation for balancing the rack uses and vehicle operation for maximizing efficiency are the specific concerns in this paper. The simulation study is conducted to find a policy for efficient vehicle operation based on balanced rack utilization, and the favorable result for the system operation would lead the usable proposal in vehicle operation.