• Journal of the Korean Institute of Landscape Architecture
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• v.18 no.1
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• pp.9-17
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• 1990

This study was carried out in the Haenahm county as a part of project, the'89 Comprehensive Planning of Rural Area. In order to increase household income of rural area and to meet increasing tourism demand in urban area, several tourism development directions and strategies were suggested in terms of resources, services, and transportation. The major results of this study are summarized as follows ; 1) Core tourism market has to be maintained by inforcement of unique image of the Haenahm county, such as the southern extremeity of Korean peninsula and tourism resources rich land. 2) New tourism products need to be introduced to attract fringe market of this area by use of natural and cultural resources in the Haenahm county, such as terrain, climate, provincial park, music, dance and artifacts. 3) image of this county as a touristic resort would be escalated by development of high quality andclusterized accommodation in urbanized area of the Haenahm county 4) Development of private lodging, production of local brand by native food, beverage and artifacts, introduction of festival by folk song and folk dance would be helpful to stabilize a seasonal fluctuating demand level of ourismandlocalresidentsincome. 5) Diversification of tourism product needs to be provided for tourists in order to increase chances for enjoyment in the destination and to be involved in socially comfortable atmosphere. 6) Package tour by diversification of touristic subregions in this county and linkage system with touristic regions of other counties would helpful to lead visitors to stay long, resulting in increased expenditure.

• 한국환경농학회:학술대회논문집
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• 2011.07a
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• pp.3-20
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• 2011

Soil in Jeju Island is largely classified into dark brown non-volcanic ash soil weathered by basalt, dark brown ash soil and black volcanic ash soil origin from volcanic ash. Non-volcanic ash soil is similar to main land soil which can cultivate rice and barely, however, volcanic ash soil is very sterile therefore even barely cultivation is impossible. Although dolmen distribution, ancestral rites, folk songs and agricultural methods can be clearly classed into regional characteristics, it is hard to adduce humanistic sociological basis. However, regional characteristics can be classified by using soil physic-chemical properties of non-volcanic ash soil and volcanic ash soil. Non-volcanic ash soil region relatively has cheerful folk song, dolmen is found and bunjitgeori ancestral rites are common. One the other hand, there are no dolmen are found in volcanic ash soil area. Sad shamanistic song such as Jinsadetsori is common and firstborn-son takes the lead in ancestral rites in this area. This lesson interprets socio-cultural difference using soil environment.

• The Journal of Korean Medical History
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• v.17 no.1
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• pp.83-104
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• 2004

BiaoYouFu(標幽賦) is a classic of accupuncuret&moxibustion, written by a famous accupuncurist& moxibustionist DouHanQing, and it is published in DouHanQing's ZhenQingZhiNan, BiaoYouFu is an accupuncuret&moxibustion GeFu(歌賦-a type of song) that simply expressed the profound and abstract parts of the theory and practice of acupuncture&moxibustion in GeFu forms, and allowed people studying to understand the details of acupuncture&moxibustion readily, and also help doctors to memorize easily. The author wrote annotations for abstruse parts and pronunciations for the original text to help in reading the original text with ease. The most important point is that it was translated according to our country's unique rhythm of folk song, the $3{\cdot}4$, $4{\cdot}4beat$, to make it easily readable, so that it could be studied repeatedly and understood deeply.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2004.11a
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• pp.802-805
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• 2004

It is requures to understand the meaning of sound and cultural background of target spaces for soundscape design. The purpose of this study is to derive the general soundscape preserved in the mind of Korean people. Four kinds of traditional Korean songs, that is to say, Sijo (Korean verse), folk-song, Pansori (song for drama by Chang reciter), and popular songs, were used as tools of research subjects. That is because the sounds expressed in literature are very useful subjects for soundscape survey. Paragraphs containing description of sounds were selected from the lyrics of the songs. Then 11 sound categories were named, and 13 meaning categories were classified according to referential and emotional aspects, respectively.

• (The) Research of the performance art and culture
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• no.38
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• pp.297-347
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• 2019

Jie Jie Hao Yin 『절절호음(節節好音)』 is a script collection produced during the Qianlong's ruling Period which had one of the most flourished period of Qing Dynasty's Palace Drama. This script collection is consisted of 86 scripts of 6 Festival Court Plays: New year's day (元旦), Lantern festival(上元), Yanjiu festival(燕九), Snow appreciation(賞雪), Day of Kitchen god worshipping(祀竈), New year's eve(除夕). These scripts are effective records to study the New Year's Eve Drama of Qianlong Period. Jie Jie Hao Yin carry out the performances not only through Kunqiang (崑腔), and Yiyang Tune (弋腔), but also through various types of entertaining performances such as dance, masque play, puppet show, and story telling. Most of the songs were sung by various gods praising the era of peace as the holiday approaches. In the contents of revealing the luck to be brought by the holidays, it sought for the colorful transformations of stages through adding humoristique short stories or various feast genres in between the performance. It also tries to seek for diversities of stages through active application of acrobatics. It also portrays folk customs from BaiYunGuan's temple fair, Yanjiu Festival in YanBin, the Lantern Fair of Lantern Festival, and various activities of wet markets from New Year's Eve from diverse points of views. Especially through various shows and Chinese folk-art forms, the popular folk activities and entertainments near Beijing in the beginning era of Qing Dynasty can be observed. Jie Jie Hao Yin is a very important resource to look at the popular art activities of Beijing during Qianlong Period, and how the Palace culture accepted the folk cultures and applied to its own advancements.

• Journal of Multimedia Information System
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• v.9 no.2
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• pp.113-120
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• 2022

Mongolian folk songs are inspired by Mongolian labor songs and are classified into long and short songs. Mongolian long songs have ancient origins, are rich in legends, and are a great source of folklore. So it was inscribed by UNESCO in 2008. Mongolian written literature is formed under the direct influence of oral literature. Mongolian long song has 3 classes: ayzam, suman, and besreg by their lyrics and structure. In ayzam long song, the world perfectly embodies the philosophical nature of world phenomena and the nature of human life. Suman long song has a wide range of topics such as the common way of life, respect for ancestors, respect for fathers, respect for mountains and water, livestock and animal husbandry, as well as the history of Mongolia. Besreg long songs are dominated by commanded and trained characters. In this paper, we proposed a method to classify their 3 types of long songs using machine learning, based on their lyrics structures without semantic information. We collected lyrics of over 80 long songs and extracted 11 features from every single song. The features are the name of a song, number of the verse, number of lines, number of words, general value, double value, elapsed time of verse, elapsed time of 5 words, and the longest elapsed time of 1 word, full text, and type label. In experimental results, our proposed features show on average 78% recognition rates in function type machine learning methods, to classify the ayzam, suman, and besreg classes.

• (The) Research of the performance art and culture
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• no.37
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• pp.157-186
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• 2018

Ulsan Soeburi song was reenacted in the 1980s based on the testimony and songs of late Choi Jae man (1987 death), the last blacksmith of the iron production plant at Dalcheon dong, Ulsan in August 1981. The purpose of this study is to analyze Soeburi song from the musical perspective based on 13 kinds of data including video in 1981, and confirm the changing patterns in the tradition process. The derived results are summarized as follows. In the results of examining Soeburi Song data in 2017, the percussion instruments consist of kkwaenggwari 2 (leading small gong 1, follow small gong 1), jing 2 (large gong 2), buk 4 (drum 4), janggu 4 (double headed drum 4), taepyongso 1 (Korean shawm 1), and Jangdan (rhythm) consists of five such as Jilgut, Jajinmori, Dadeuraegi, Deotbaegi, Jajin Deotbaegi. The vocal songs are sung accompanied by the Deotbaegi Jajin Deotbaegi (beat) of quarter small triplet time, or without accompaniment. The scale is mostly Mi La do's third note or Mi La do re's fourth note, and the range does not exceed one octave. All the cadence tones are the same as La. From the results of observing Soeburi song performance until today after the excavation in 1981, it is found that there are four major changes. First, the composition of the music is differentiated into 'long Jajin (slow fast)', and , , and are added. Second, the singing method is based on 'single cantor + multi post singers' since 1980's reenactment, and a single post singer was also specified from time to time. In addition, , which was performed in 2013, became the foundation of . Third, a melodic change of was observed. All beat structures are quarter small triplet time, but the speed gets slow, Mi La do's three notes are skeletonized to be corrected with high re and low sol, and then the characteristics of Menari tori (the mode appeared in the eastern province of the Korean peninsula) are to be clear. Lastly, the four percussion instruments such as kkwaenggwari, jing, janggu, and buk are frequently used, and depending on the performance, sogo (hand drum), taepyongso, yoryeong (bell) are also added. Jangdan played Jajinmori, Dadeuraegi, Deotbaegi and Jajin Deotbaegi from the beginning, and thereafter, the Jilgut Jangdan was added. Through these results as above, it is confirmed that at the time of the first excavation, a simple form of such as has been changed into a male labor song, the purpose of which has changed, and that the playability has become stronger and changed into a performing arts.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• no.1
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• pp.202-207
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• 2001

Covering an area of about 39 ha, Qingming Shanghe Park is located in the northwest of Kaifeng, formerly the capital of seven dynasties in China. It is intended to serve as a tourist attraction based on a painting 〃Qingming Festival at Riverside〃 by Zhang Zeduan of the Northern song Dynasty, which vividly illustrates a real life on the both sides of the Bian River as well as in the urban area, Kaifeng, in early Spring. The park is a collection of varied buildings such as shops, restaurants, tea-houses, theaters, and hotels in the North song style, with an introduction of the history of Kaifeng, this paper examines design philosophy and methodology of the park, and discusses the creative design of the first stage development known as known as The South Area of the park. Marked by the Rainbow Bridge and the City Gate, the South Area is divided into three parts, the rural, suburban, and urban parts which are organized according to the spatial order showed in the painting. The South Area proves to be very successful because of its amazing sense of history and interesting folk performance. Furthermore, the preliminary 9planning of the second stage development known as The North Area is presented with references to culture, history and customs. The North Area is proposed to include the Old Sports & Games Garden, the Exhibition Garden, and the Hot Spring Garden with an appearance of the imperial gardens in the Northern Song, integrated with participation of old sports and games, display of old science & technology achievements, and enjoyment of hot spring bath.

• (The) Research of the performance art and culture
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• no.39
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• pp.279-323
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• 2019

The musical characteristics of Fishing songs in North Korean which recorded on Anthology of North Korean Folk Songs were examined in this paper. The results are as follows. Among Fishing songs in North Korea, there are "Rowing Song," the "Song for Hauling Nets," and the "Song for Picking Up Fish" in songs related to walleye pollack fishing and in songs related to croaker fishing, the "Song for Dropping Anchor" and the "Full-Load-of-Fish Song" in songs related to croaker fishing, the "Song for Weighing Anchor," the "Song for Shaking Fish," the "Full-Load-of-Fish Rowing Song," and the "Song for Hanging Walleye Pollack" in songs related to walleye pollack fishing. There are the "Song for Setting a sail" and the "Song for catching shells" in Fishing songs in North Korea, too. In the rhythmic elements of Fishing songs in North Korea, the tempo of the "Songs for Setting a sail" is moderato, and that of the "Songs for Picking Up Fish" of songs related to anchovy or herring fishing is quite slow. "Rowing Songs"(croaker fishing) have various tempos but faster than moderato, and usually get faster and faster as time goes by. Most songs have 4/♩. time and there are some of 2, 3 or 5 time. Some songs use irregular time or 6 time overlapping 2 beats. The mode Menari is the most common tonal system used in fishing songs of North Korea. And the mode Susimga, the mode Changbutaryeong, the mode Nanbongga, and the mode Odolttogi are also used in the tonal system of Fishing songs in North Korea. There are shoutting intonations that have indefinite pitch, too. Modulation or interaction by the mode Changbutaryeong appeared in songs of the mode Menari. There is a tendency to favor a certain tonal system by category. Responsorial form is mostly used, but in the most cases, they were sung in solo. In responsorial songs, several calling songs overlap with the responding songs. Durchkomponiert form is sung by antiphon or in solo, but the case sung in solo originally seems to have been sung by antiphon or unison, if we consider the procedure of the work. The "Song for Picking Up Fish" of Seonbong-gun of North Hamgyeong Province and Yangyang-gun of Gangwon Province, the "Full-Load-of-Fish Song-Bongjuktaryeong" of Jeungsan-gun of South Pyeongan Province and "Full-Load-of-Fish Song-Baechigisory" of Taean-gun of South Chungcheong Province, "Rowing Song" of Nampo City and Ganghwa-gun of Gyeonggi Province are resembled. In neighboring areas, even if the songs of different categorys, sometimes share a same melody. In a certain category, sometimes a same melody is shared to a considerable distance. It was first identified that in anchovy or herring fishing or dybowskii' sand eel fishing, the "Song for Picking Up Fish" is widely shared in the East Sea Coast area.

• (The) Research of the performance art and culture
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• no.40
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• pp.193-222
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• 2020

In this study, the development of traditional contents is to be enabled to succeed the values of the heritage on the song sang during dry-field farming of Bongpyeong Memil-dorikkaejil-sori. In addition, the identity on the heritage of songs sang during farming were diagnosed, and their value in context with the history and the value as the community for succession are emphasized as the value of cultural asset to expand the discussion up to the level of traditional cultural industry works. In the Bongpyeong Memil-dorikkaejil-sori, the intrinsic artistic value, the excellence of value as the educational experience, factor for overcoming the extinction of farming songs, and the promotion direction of the storytelling on buckwheat were provided. This is breaking from the formalization and being old-fashioned on the Bongpyeong Memil-dorikkaejil-sori to focus on the symbolization of the agricultural heritage in the modern context, habituating and spreading the gene of slash-and-burn field (hwajeon or budaeki). In terms of methodology on awareness, historicity or creativity, alternative method on the folk songs in labor was provided by having critical mind on the Bongpyeong Memil-dorikkaejil-sori and buckwheat songs. By reviewing the field contextualization of designating the intangible cultural asset, suggestions were made on activating the succession, and even the method of symbolic registration on the heritage of buckwheat farming was mentioned. Heritage on agricultural culture that can represent Pyeongchang and Gangwon must be discovered to be made into a brand. In addition, the uniqueness in the Madang 'Song Madaengi Traditional Music' must be found to apply as the brand on the point in which the people around the world can have consensus for utilization. As the farming song, rediscovery of the Bongpyeong Memil-dorikkaejil-sori is required to create the sustainable status as the multi-purpose cultural contents and provide the network of professionals for activating the folk songs to enable the opportunity of qualitative substantiality and spread instead of quantitative growth. In addition, festivals for each region, especially the festival for Pyeongchang area must be utilized centrally on the development of farming songs to organize the storytelling actively.