• (The) Research of the performance art and culture
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• no.36
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• pp.327-363
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• 2018

This paper tracks the present state of the Gugak educational programs run by Gugak-specialized museums including Museum of Gugak not only to set a directionality of Museum of Gugak to step forward for their main purposes, but also to find measures to invigorate its Gugak educational programs. There are 826 museums registered in 2016 nationwide, and ten of them are Gugak-specialized museums including Museum of Gugak. An analysis of the educational programs by Museum of Gugak presents high achievements in concentrativeness, participation and satisfaction levels. However, several issues such as difficulty level adjustment, education period arrangement, contents development, setting of a precise aim of education, and overcoming of regional limitations are to be solved in the future. Considering these special circumstances, the study suggests setting a directionality of Gugak education by following four conditions: Firtly, the Gugak education programs by Museum of Gugak should be user-oriented. Secondly, it is necessary to provide customized learning programs to suit users of various ages and generations. Thirdly, a solid education is required to enhance creativity deviating from uniform, unilateral, fragmentary education focused on materials and relics of museums as the users' experiences and learning levels vary. Fourthly, integrated education with relevant study in common use is required as the specialized environments of the museum could cause users psychological resistance and lessen their willingness to approach. Focusing on these four conditions several invigoration measures for the Gugak education programs are discussed: Firstly, a step-by-step approach, not a radical shift, is required in order to turn existing programs into the user-oriented. Secondly, customized learning programs should be planned in consideration of life cycle of the users. Thirdly, it is necessary to establish virtuous circulation reflecting activity-based contents as well as to provide the users experiences through five senses for solid Gugak education, in which various elements such as experiencing, learning, playing, viewing are reflected manifoldly. Fourthly, integrated education can be implemented when the features of Gugak educational programs are internally structured and the external environment matures.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.299-307
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• 2020

Since 1964, research and improvement projects on Gugak instruments have been carried out to modernize, standardize, and scientificize them, but their inherent problems of Gugak instruments have failed to produce significant results. It seems that one of the main reasons for this is that the study of instrumental acoustics on Korean traditional instruments was not preceded. In Gugak orchestra, Sogeum used in concertos and solo music is a musical instrument that plays the similar role in Western orchestras due to its clear tone and high sound range. In this paper, the sound colors of Sogeum and flute, which sound similar, were analyzed through the their harmonics distribution and sound structures of the instruments. This showed that the overall tone was richer and softer than Sogeum, and that the tones of the two instruments sounded similar due to the similar composition of harmonics. In the future, it is hoped that musical instrument acoustical researches on various Gugak instruments will continue to help popularize and globalize Gugak instruments.

• (The) Research of the performance art and culture
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• no.36
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• pp.137-167
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• 2018

As Gwangju Gwonbeon(meaning of a gisaeng call-office) was representative Gwonbeon in Honam area, it educated gugak(Korean traditional music) from the period of Japanese occupation to 1951, the year of foundation of Gwangju gugak center. As Gwangju Gwonbeon's later self, Gwangju gugak center was also an institution that local influentials interested in the education of gugak of Gwangju region cooperated and built. Therefore, Gwangju Gwonbeon should be considered when premodern and modern history of gugak in Gwangju is mentioned. However, the studies of Gwangju Gwonbeon as well as related studies are still thin. Previous researches related to Gwangju Gwonbeon are mostly focused on the operation and dance of Gwonbeon. However, Gwangju was a region where Pansori was invigorated. According to "Joseonmiinbogam", a record of gisaeng(Korean geisha) in 1918, gisaengs of Gwangju Gwonbeon were specialized in Pansori as compared with those of other regions. In addition, today, there are many master singers of Pansori heard by people, among persons who were educated and a lecturer in Gwangju Gwonbeon; therefore, their oral statement is important materials for understanding transmission of Pansori in Gwangju. Nevertheless, the relationship between Gwangju Gwonbeon and Pansori was not studied yet. Especially, oral statement of master singers of Pansori related to Gwangju Gwonbeon was collected partly, as a result, it is not recognized as valuable research materials. Foundation of Gwangju Gwonbeon and Gwangju gugak center became an important basis for education of Pansori as early private institute educating Korean classical musicians in Gwangju. And it is also meaningful as the trigger that gugak in Gwangju was begun in earnest. Therefore, the purpose of this study is reconstruct activities of master singers who worked in Gwangju Gwonbeon and Gwangju gugak center and is to examine transmission and value of Pansori in Gwangju from the period of Japanese occupation to 1973, collecting oral statement of master singers related to Gwangju Gwonbeon. Finally, this study might be helpful for expanding the interest in Pansori and activating related studies.

• International Journal of Internet, Broadcasting and Communication
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• v.14 no.1
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• pp.37-43
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• 2022

This study is a sustainability study of K-Music beyond K-Pop through New Media. New media literally means 'new media'. When TV, classified as legacy media, first appeared in the world, it was an innovative new media platform. Of course, it is considered the most traditional legacy media. However, the definition of new media inevitably changes with the times. Most of the media called new media today are based on online and mobile. This thesis focuses on popular music including crossover traditional music genre. And we define popular music exported abroad as K-pop, and propose the possibility of globalization of Korean music using K-pop users and new media, a metaverse based K-pop audition platform, as consumers and suppliers in the global market. Hallyu, the studying of K-Pop through the study of attitudes and economic effects of K-pop, such as reactions to the spread of K-pop and the reactions of fans who like K-pop, are constantly being discussed in various ways. But there has been no case of cultural technology research that linked the sustainability of Gugak as the Korean music through new media to the K-pop business platform. As the overflowing data pours out in the virtual space as an act that gives the meaning of existence, the online is able to become an open market that provides reliable information all over the world. Therefore we would like to propose on the sustainability of Korean music through the 'Korean Traditional Music Broadcasting Metaverse Audition' beyond the K-pop business model as the K-Music content in the cultural technology era.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.323-331
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• 2020

In order to prolong the Shin-Hallyu and make a significant leap forward, we analyzed the characteristics of Jambinai, Singsing Band, and Ackdan Gwangchil, bands that are recognized globally for their musicality and popularity. First, the socio-cultural background behind the world's attention on korean traditional music lies in the racial and cultural diversity that embraces the non-mainstream identity. In particular, the success of Korean traditional music fusion bands in non-Asian countries can satisfy their public seeking to enjoy an exotic culture that is different from Western culture. it is necessary to recognize cultural, social and musical differences depending on the country or ethnicity and to approach them accordingly. Second, in the same Asian region, Korean traditional music is not given a sense of homogeneity, but in the West, the Eastern heterogeneity seems to have become a stronger ompetitive edge. With the expansion of the new Korean Wave to various regions, it is necessary to try to form a regional repertoire. Third, we found the validity of the convergence with the new Korean Wave through the characteristics of Gugak musicians as the main body to build a world of traditional music and enable popularization and globalization. It is necessary to highlight korea's traditional cultural value through analytical research on the effects of tone, composition and directing techniques reflected in korean traditional music or musical elements. The uniqueness and Korean values provided by Gugak will serve as homogeneity in Asia and heterogeneity in Europe and the United States, presenting the possibility of New Hallyu content and contributing to the prolonged Korean Wave.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.291-302
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• 2019

In this paper, we first looked at the structures and characteristics of the musical instrument to study the tone of haegeum, which is the only Korean musical instrument made using all the eight ingredients that make gugak instruments, and which is now the most frequently used in fusion gugak or pop music production sites. In addition, for the comparison of the various tones of the haegeum, under the same conditions, we analized how the haegeum's tone changes according to the types of Wonsan, which works as the bridge of the haegeum. Four Wonsan made of Park, Rosewood, Maple and Black Dan were used in the experiment, and low, medium, and high notes were recorded to compare the inner and outter open strings and the sound ranges. By doing so, we looked at the composition of frequency characteristics and the distribution and analyzed the timbres according to the types of Wonsan. Based on this study, it is expected to help the performers in the field choose the proper Wonsan according to each harmony part, rather than just to their tastes when performing Gugak orchestral music or haegeum ensemble. We also look forward to playing haegeum and using the timbres in various combinations of Wonsan that suit the genres at the pop music industry.

• (The) Research of the performance art and culture
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• no.43
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• pp.79-120
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• 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 Journal of the Acoustical Society of Korea
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• v.32 no.5
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• pp.446-453
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• 2013

In this paper, we propose an efficient method to describe and save Jeongganbo score which has various structures and symbols by using XML (Extensible Markup Language). To do this, analysis of Jeongganbo's structures, and classification of symbols for jeongganbo were preformed. Then, Jeongganbo DTD (Document Type Definition) was defined to describe Jeongganbo score in XML document. To verify the proposed method, we produced a Jeongganbo score XML file for real Jeongganbo score according to the proposed Jeongganbo DTD, and then evaluated the produced XML file by using Jeongganbo XML interpreter software which can interpret the Jeongganbo XML file and represent the Jeongganbo score.

• Journal of the Korean Wood Science and Technology
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• v.49 no.1
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• pp.82-92
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• 2021

Nakdong technique is an unfamiliar scorching treatment using an iron heated in a kiln over 1000℃. It is a typical convention in Asian countries to treat Nakdong on the surface of paulownia species. The scorching treatment changes the surface characteristics as well as the color of the wood. This study focused on the effects of functional features such as water resistance, anti-mold, anti-termite, and sound improvement because this treatment is usually used on paulownia wood-bodied musical instruments surface. It took 28'57" for Nakdong-iron treated surface to absorb a droplet of water. The absorbance time of iron treated surface was longer than that of torch treated one. There was no noticeable effect on the anti-mold test. On the anti-termite test, there was nearly 3% more mean mass loss on the torch samples than controlled and iron treated ones. In examining the sound radiation coefficient before and after Nakdong treatment, the Nakdong-iron treated surface showed an increase in the average value of 1.2 m4/kg s, which means that it has sound quality improvement. Through this research, the Nakdong technique results are expected to be used as basic-data for further research and give a practical idea for using the traditional treatment method on the wood surface.

• Journal of the Korea Safety Management & Science
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• v.26 no.1
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• pp.63-74
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• 2024

The objectives of this study is to classify evacuation types, derive the characteristics of 4 types, develop and discover evacuation routes within the performance hall space, and present the statistical classification results of the evacuation classification model by classification type. To achieve this purpose, the characteristics of each evacuation type's four types are applied through a network reliability analysis method and utilized for institutional improvement and policy. This study applies for the building law, evacuation and relief safety standards when establishing a performance hall safety management plan, and reflects it in safety-related laws, safety standards, and policy systems. Statistical data by evacuation type were analyzed, and measurement characteristics were compared and analyzed by evacuation types. Evaluate the morphological similarity and reliability of evacuation types according to door width and passage length and propose the install position of evacuation guidance sign boards. The results of this study are expected to be used as basic data to provide operation strategies for safety facility evacuation information sign boards according to evacuation route classification types when taking a safety management plan. The operation strategy for the evacuation sign boards installation that integrates employee guidance and safety training is applied to the performance hall safety management plan. It will contribute to establishing an operational strategy for performance space safety when constructing performance facilities in the future.