• 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.

• (The) Research of the performance art and culture
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• no.33
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• pp.303-328
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• 2016

This paper identifies the life of Kim Jung Hyun who was so called kisaeng, a beauty and entertainer in modern times and serves as the study considering what kinds of dances she played going through modern times and the significance works in Korea Dance illustrated guide bear in terms of dance history. Kim Jung Yun who was designated as an important intangible cultural asset for her Korean traditional narrative song in the northwestern provinces (Number twenty-nine. designated in 1971) devoted herself to Korean classical music area after having been designated as cultural asset and became a stranger in dance area. However, in Kisaeng call-office, she had been estimated to learn dancing under the great dancer, Lee Jang Sin, and make efforts on dance activity until the early 1960's. Her works derived from such learning and creation activity came to be part of Korea Dance Illustrated Guide. This study aimed at studying Kim Jung Yun in addition to her works who had not received attention so far but worked on positive lines and made a significant accomplishment in modern dance history in order to reveal her importance status in modern dance history.

• Korean Security Journal
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• no.60
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• pp.91-111
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• 2019

Violent crimes have increased continuously due to the development of urban society and have become a threatening factor against the residential safety of citizens. The prevention of these crimes is always a major topic in human society and one of the fundamental elements of the quality of life and safety of citizens. In recent years, much attention has been paid to environmental design through the Crime Prevention Through Environmental Design (CPTED) as a preventive measure. Currently, South Korea is promoting the openness and utilization of public data, and crime prevention is one of the fields that can utilize public data actively. This approach to crime prevention utilizing public data will be helpful for the proposal of policies from new viewpoints departing from the general utilization measures of CPTED that improve streetlights and closed-circuit television (CCTV) installations, whose limitations have been pointed out as they are only mechanical surveillance. Thus, this study sets the research scope based on the statistics of the status of five criminal offenses by administrative district in recent years provided by the data portal in Seoul City, the capital of South Korea, as the utilization data and concentrates on the analysis. Based on the analysis results, this study proposes a method to utilize classical music as a new policy for regions where the improvements are most needed. The open-source Python analysis program was employed as the main data analysis and visualization method.

• 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.

• Journal of the Institute of Convergence Signal Processing
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• v.10 no.4
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• pp.214-219
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• 2009

This paper proposes a watermarking algorithm considering the frequency characteristics of Haegeum sounds for copyright protection of digital Haegeum sound contents. The harmonics of Haegeum sounds commonly have large magnitude values in 1500Hz~2000Hz and 2800Hz~3500Hz so that those bands are selected to embed a watermark. The proposed method computes the FFT (fast Fourier transform) of the original sound signal and embeds the watermark bits generated by PN (pseudo noise) sequence into the harmonics in the selected bands. Furthermore, the proposed method is robust to lowpass filter, bandpass filter, cropping, noise addition, MP3 compression attacks and the maximum BER (bit error rate) is 1.41% after lowpass filter attack. To measure the quality of the watermarked sound, subjective listening test, MUSHRA (multiple stimuli with hidden reference and anchor), was conducted. The mean value of MUSHRA listening test is bigger than 98 and 96.67 for every Haegeum sounds and Korean classical music with Haeguem, respectively.

• Journal of Fashion Business
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• v.25 no.5
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• pp.1-24
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• 2021

This study aimed to explore the fashion design and style features, and differences in BLACKPINK, TWICE, and Red Velvet girl groups. A total of 469 fashion photos (132 BLACKPINK, 217 TWICE, 120 Red Velvet) focusing on 23 title songs (7 BLACKPINK, 9 TWICE, 7 Red Velvet) were collected. Photo classification work was carried out in accordance with the design analysis criteria and the results were derived by combining statistical analysis and content analysis. BLACKPINK's fashion design characteristics showed a lot of complex colors, shade tone, pure tone, contrast color coordination, stylistic pattern, slit, patchwork, checklist method, sexy and avant-garde images. TWICE's fashion design characteristics included warm color, complex color, tint tone, monotone, contrast color coordination, tone-on-tone, geometric & stylistic patterns, cotton, silk, a combination of the same material, frill, beads, ribbon decoration, blouse, skirt, and many romantic and ethnic images. Red Velvet's fashion design characteristics were a cold color, moderate tone, monotone, cotton, velvet, geometric pattern, zipper, sequins, T-shirt, pants, tie, belt, and many retro and active images. The fashion styles of BLACKPINK, TWICE, and Red Velvet were as follows. BLACKPINK was divided into sexy avant-garde, sexy active, sexy romantic styles. TWICE was divided into romantic active, romantic classical, and romantic ethnic styles. Red Velvet was divided into retro active, retro sexy, and retro avant-garde styles.

• Sijohaknonchong
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• v.24
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• pp.223-258
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• 2006

This Research is about the classification of 'Sijochang', or the Korean ode narrative song, in terms of music. Contrary to the literature classification by the number of letters, sijochang varies with the melody. Literally, the classification is generally made as Dansijo(or short ode) Jungsijo(or medium ode) and Jangsijo(or lengthy ode) but the sijochang is normally divided into 'Pyongsijo' (or plain ode), 'Jirumsijo and Saseolsijo'. As while the same Sijochang is called under the different names, the different type of sijochang is also called as the same name, it needs the discussion about its name. Some Korean classical musicians have attempted to define it but they are trying to do it without the specific reasoning about its concept. As a result, the systematic research is required. This study designs to streamline the currently confusing and complex names and set up the sijo's classification system. After reviewing the ancient music note, current sijo score and the traditional theory, I largely classified it into 3 types: Pyongsijo, Jirumsijo and Saseolsijo. And then, 1 analyzed on to which type the sijochang which is presently called belongs, based on several principles. The 67 names of the sijo which I have investigated about are classified with them sharpy reduced into 16. Among the current sijo names. there are some which are of same type yet of different phonetics and there are others which are of different phonetics yet of same type. To avoid such complex and troublesome names, I have orchestrated them as follows, taking the literary and music concept into account. 1) Pyongsijo type : Pyongsijo, Joongherisijo, Wujosijo and Payeonkok 2) Jirumsijo type: Jirumsiro, Namchangjirumsijo(it refers to Jirumsijo sung by male ), Yeochangjirumsijo (it refers to Jirumsijo sung by female), Banjirumsijo(it refers to half the Jiumsiro), Onjirumsijo (it refers to the whole Jirumsijo), Wujojr\irumsijo, Saseoljirumsijo and Whimorisijo) 3) Saseolsijo type : Saseolsijo, Bansaseolsijo(it refers to half the Saseolsijo, Gaksijo or Pyongsiro There are still lots of things to musically streamline, in the fields of disposition of Sijo letters, its form, musical scale and influences on other genre. etc. and as such. the accumulation of theory on them is urgently required. Those musical elements need an in-depth review and study by the experts and the Korean traditional musicians. Later research is expected to play a role of exploring it.

• (The) Research of the performance art and culture
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• no.36
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• pp.255-287
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• 2018

This article deals with one of the pansori master's life and activities. Bak Songhui(1927~2017), who was the holder of National Intangible Cultural Asset No. 5 for pansori Heungboga. She had played a significant role through the modern history of pansori genre including Yeoseong Gukkeuk(Korean classical opera by women) and Changgeuk(Korean traditional opera in pansori style) as well as original pansori itself. In the article, the early stage of her learnings and the way she got involved to pansori from Gwonbeon period are offered, and the activities by group, solo recitals, and educational activity lists are also provided. Bak Songhui began to learn pansori, Geommu(dance), Seungmu(dance), Gayageum, Yanggeum, and Gagok genres at her age of 13 in Gwangju. She fulfilled 5 years of study in Gwangju Gwonbeon, and entered to a Hyeomnyulsa-travelling theater company, led by Gim Yeonsu at her age around 19. Later, Bak used to be an actress in Yeoseong Gugak Donghohoe(Female Korean music fans' club) led by Gim sohui as well as in Haennim Gukkeukdan, and Saehan Gukkeukdan at around her age of 30. She took the main actress' role in several performances. And thanks to her effort, the Yeoseong Gukkeuk can be one of the representative genre in history. As she entered to the National Changgeuk company, her brilliant talents worked well by leading the company's big hit with her talents of taking many different characters, devotions, and know-hows from her experience. After her 70s, she kept the pansori go on its right way to pass down. She unfolded pansori performances as well as her own students' public presentations, recordings, TV and radio broadcasting activities as the holder of National Intangible Cultural Asset. The activities that Bak Songhui showed us can become another chance to make her a great master of pansori, especially in Dongpyeonje style.

• Journal of Family Resource Management and Policy Review
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• v.10 no.1
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• pp.83-105
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• 2006

The purposes of this study were to classify types of consumption values and to examine 5 types of art appreciation of university students in Seoul. Five types of art appreciation included fine art exhibition(including photographs, architects, calligraphy works), classical and opera performance, traditional Korean music performance, drama and musical performance, dance performance. The sample for this study consisted of 422 university students of five universities in Seoul. The data were collected using the structured questionnaires. The statistical methods used for the analysis were descriptive statistics, chi-square, factor analysis, and cluster analysis. The major findings are as follows. 1. The result of factors for consumption values of students emerged four factors. These were called as 'materialism', 'honor centered', 'family centered', 'hedonism' value. 2. The cluster analysis was conducted based on these four factors. The result showed 3 groups of consumption value which were called as 'material' honor value group', 'family value group', 'hedonic value group'. 3. The consumption value of university students did not significantly differ according to their demographic variables. 4. The behavior of art appreciation of university students significantly differed by their demographic characteristics and consumption value. The material' honor valued group showed the least chances to make decisions on art appreciation for one's own, which reflected that this group appreciate art to satisfy their honors rather than to enjoy art itself. They also showed the most chances to consider the renownedness of the art work or artists among three groups. And they showed the least chances to pay for the tickets for art appreciation, all of those meant that they appreciate arts unvoluntarily in situational condition. The family valued group showed the most chances to pay for the tickets when they appreciate arts. And therefore they were most susceptible for the prices. The hedonic valued group showed the most interests in art. They decided to appreciate art for their own, and they considered the contents and the highness in the level of the art the most when they appreciate art. And they show the most intention of participation in drama/musical performances, which reflect their interests in hedonic values. Based on these results of this study concluded that the consumption values of university students affected their behavior of art appreciation. Thus, university students' behavior on art appreciation can be effectively developed by education according to their consumption values.