• Journal of Physiology & Pathology in Korean Medicine
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• v.16 no.1
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• pp.8-13
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• 2002

Jinguiyuhanjing, one of the Jing-Yue's three writings which were proofread by Lin-Yi et al. in the Song dynasty, can be regarded as the book composed of another text of Shanghanlun. The book has been quoted by some medical scholars in the Song and Jin dynasty, but it has been kept hiding by some collectors from the Yuan dynasty and has not been known to the public until republished by Shi-Jie Chen in the early Ching dynasty. As compared with Shanghanlun, Jinguiyuhanjing shows much difference in contents. Rather, it has a close similarity to Qianjinyifang(千金翼方) written by SunSaiMiao(孫思邈) in the Dang dynasty. The section 1 of Zhengzhizongcongli(證治總例), which may have edited by the man who have also edited Jinguiyuhanjing published between the Nanbei(南北) dynasty and the Sui(隋) and Tang dynasty, has a lot of resemblance to Qianjinyifang. Though the book and Qianjinyifang might have come from the same version, it seems that the edition and publication of Jinguiyuhanjing have no direct relation to those of Qianjinyifang because the former has more articles and prescriptions than the other has. Jinguiyuhanjing gives a great deal of attention to scholars who study the taxt of the Song dynasty because the contents of the book particularly reveals a considerable difference to Shanghanlun published in the Song dynasty. Despite all the importances that the book have, however, no one in Korea did not pay attention to the book ever before. We are sure that it is a valuable work to introduce and study the book in Korea.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.659-671
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• 2013

Through Korean traditional opera (changgeuk) Medea, composer Hwang Ho-jun showed eclectic music idiom by 1) writing music (jakchang) on manuscript paper and score, 2) introducing the "song-through" format, 3) including various solo melodies, 4) maximizing the effect created by a singing narrator (dochang) with the chorus master and a mixed chorus, 5) seeking an interplay of tension and release by using both discord and chord, 6) achieving the effect of kil-bakkum, the Korean traditional method of modulation, through modulation and borrowed chord of Western music. In Medea, instrumentalists adopted suseong-banju (Korean traditional accompaniment) which does not spoil the voice of singers. Hwang adopted song for the way how singers express various hidden sides of play among song, aniri (narration) and balim (gesture) and introduced the Sung-through format in which the play is comprised entirely of song. In Medea, oral sounds expressing wail, lament, cheer, sneer and scream are often used and various solo melodies appear that fit for personalities of characters, clearly showing what bunchang (singers' singing songs divided according to characters) is all about. And discord and chord are effectively used according to the development and mood of play. Hwang also achieved successfully the effect of kil-bakkum by abandoning the traditional modulation method and boldly introducing modulation and borrowed chord of Western music.

• The Korean Journal of Food And Nutrition
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• v.26 no.4
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• pp.706-712
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• 2013

This is the basic study on the extraction characteristics of Omija (Schizandra chinensis) for juices of Korean traditional foods. Extraction is being performed as 25 times of the solvent ratio at room temperature and at $65^{\circ}C$ with deionized water, tap water and Cheong-song mineral water which have high contents of Ca and Mg. The overall good results of the extraction conditions are calculated from the values of L (Lightness), redness (a), yellowness (b), soluble solids content, acidity, pH levels and the DPPH radical scavenging activity by using the electron donating ability (EDA). The results are as follows: 12 hours of room temperature and 6 hours at $65^{\circ}C$ were good extraction times. The Cheong-song mineral water at $65^{\circ}C$ is available for rapid extractions when compared to deionized water and tap water. A longer extraction time shows lower values of acidity but increasing values of soluble solids content and DPPH radical scavenging activity when using the electron donating ability. The best sequences for the extractions are Cheong-song mineral water followed by tap water and distilled water after overall consideration.

• The Journal of Korean Academic Society of Nursing Education
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• v.12 no.1
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• pp.28-35
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• 2006

Purpose: This study was performed to verify the effect of rhythmic activity program on the elderly particularly their level of instrumental activities of daily living(IADL), depression and sleep. Method: The design of this study is one-group pretest-post test design. Three self-reported questionnaires were used as follows: first, the IADL Scale developed by Lawton and Brody(1969) and revised by Suh(1996) for measuring IADL, second, the Geriatric Depression Scale developed by Sheikh and Yesavage(1986) and revised by Song(1991) for measuring depression, third, Korean Sleep Scale developed by Oh, Song, & Kim(1998) for measuring sleep aspects; fourth, the applied version of Facial Pain Scale developed by Wong & Baker(1988) and revised by Song(2004) for measuring sleep quality. Twenty-seven elderlies carried out 50 minutes of rhythmic activity program for 4 weeks. Before and after the experiment, they were tested for IADL, depression and sleep. Collected data were processed using the SPSS/WIN 12.0 program analyzed by the frequency, percentage, mean and paired t-test. Results: The improvement in IADL of the elderly was not enhanced significantly but depression and sleep disorders significantly decreased. Conclusion: Rhythmic activity program is an effective nursing intervention for the elderly.

• CELLMED
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• v.14 no.2
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• pp.3.1-3.2
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• 2024

The purpose of this study is to consider the health and well-being of singing, an expression activity of language. There are also many studies in which singing activities have a positive effect on individual quality of life and social activities. Therefore, this study attempted to suggest that more effective singing is being performed by increasing empathy through various expressions of onomatopoeia and mimic words. Love Changbu Taryeong (愛倡夫打令) is Korea's traditional representative Gyeonggi folk song. It is a cheerful and lyrical folk song based on the five scale of Sol-ra-do-re-mi. It sings not only human joy, sorrow, and pleasure, but also natural phenomena and scenes. It is an exciting rhythm based mainly on the Gutgeori jangdan (rhythmic pattern, 12/8) but it is a rhythm that you can feel the sadness in it. In particular, various onomatopoeia and mimic words appear in this song, making you think about the fun of singing and the origin of the language. Therefore, this study attempted to examine that more effective singing is becoming more effective by increasing empathy through various expressions of onomatopoeia and mimic words. You can watch our singing activities on YouTube.(https://youtu.be/IhnBqWiK-3w?si=AAMi2BVes9mPShnr)

• Korean Journal of Heritage: History & Science
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• v.45 no.3
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• pp.114-159
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• 2012

The Northern Song Dynasty Period (北宋時代) was a drastic transitional era in all aspect of Chinese society including the politico-economic system, ideology and cultural trait. These changes that began in the late Tang (唐) Dynasty Period accomplished in the Northern Song Dynasty. In this phase, the fundamental change influenced in all institutional area; and among them, the capital city planning and its associating building technology to pile stone walls shows one of the significant change of those time. Based on the geographical factor, confluences of many rivers, the Kaifeing (開封) area where the BianLieng palace had developed as a political and economical centre since the Tang Dynasty when the Grand Canal was constructed. According to archaeological researches, the central city structure of Dongjing Walled Town was begun to plan in the late Tang Dynasty and formed in Five Dynasties. The fundamental functional change of city completed in the Midnorthern Song Dynasty. In spite of the relatively late beginning of archaeological investigations to Kaifeng Walled Town and Dongjing Walled Town due to unfavourable natural environment, excavations inaugurated since 1981 have achieved the significant investigations including the actual measurement and excavation to the outer wall, the preliminary excavation to the inner city area, the investigation and excavation to the royal palace of Song and the survey to the royal palace of King Zho in the Ming (明) Dynasty. These surveys have provide important data to reconstruct the 변량 palace, and elucidate the characteristics of city plan in the Dongjing Walled Town and the institutional change of capital city plan of the Northern Song Dynasty. The basic layout of Dongjing Walled Town reflect the realisation of ideality of the late Chinese medieval capital city structure that establish the commercial and economic centre based on the intensification of emperor's power by means of the organisation of ethical institution and the development of commercial economy. Firstly, the central place of the Kaifeng area is encircled with triple walls. This emphasise the authority of emperor located on the summit in the hierarchical ethic system succeeding to the main capital city plan of the late phase of ancient China. Secondly, the location of Dongjing Walled Town was decided by the transport network and the commercial function and defence function. Thirdly, this site shows the change of city structure and landscape of the Northern Song Dynasty. The closed Fengri (坊里: block) system transferred the open Jiexiang (街巷: road) system. Fourthly, the capital city was characterised by the free market trade and the diversification of market place. Fifthly, a convenient transport network in the Bian River, a centre of the Grand Canals, enabled to construct the Kaifeng Walled Town. Therefore, the Northern Song Dynasty continuously accomplished the developed water system as concerning about the utilisation of waterways after the construction of city.

• The Journal of the Korean dental association
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• v.13 no.5
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• pp.435-441
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• 1975

• Journal of Korean Medical classics
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• v.22 no.1
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• pp.35-59
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• 2009

The acupuncture documentary characteristics of the "Chimgugapeulgyeong" can be summarized into 7 parts such as the following. 1. After Imeok(林億)'s revised edition of the "Gapeulgyeong(甲乙經)" was printed during the Song dynasty, there were no reprints during the Southern Song, Geum(金) and Won(元) eras, and the first printed edition that remains today is the 'Uihakyukgyeong edition[醫學六經本]' published by Omyeonhak(吳勉學) during the Mallyeok(萬曆) era of the Myeong(明) dynasty. This publication was put into the "Uitongjeongmaek(醫統正脈)" collection in the 29th year of the Manlleok(萬曆) era(1601). Most of the remaining copies have been restored during the Cheong dynasty at bookstores, and we can see that much was restored because of damage and missing characters. Also, the 'Namgyeokcho edition[藍格抄本]' and 'Yukgyeong edition[六經本]' of the Myeong dynasty do not come from the same original document, which allows the correction of the former in many places. However, this edition was not copied well, so the order of contents is different, and there are many mistakes. The 'Sagojeonseo edition[四庫全書本]' and the 'Gajeong edition[嘉靖本]', which Yeounsu(余云岫) quoted from, coincide with each other, making them worth much reference. So, the "Gapeulgyeong" and 'Yukgyeong edition' should be seen as the original, with the 'Myeongcho edition[明抄本]' as the main revision, and the 'Sago edition[四庫本]' as a reference edition. The so-called 'Chojeongtong edition(鈔正統本)' has many problems and marks of forgery, so therefore cannot be used in revising the "Gapeulgyeong" through comparison. 2. The table of contents[序例] in the front of the current edition was in the original edition and was not added by Imeok. The structure of sentences quoted by medical books before the Song dynasty coincide with this 'table of contents'. The "Gapeulgyeong" of the Song dynasty also coincide with the 'table of contents' but the edition remaining differs much from this 'table of contents' so it was edited or erased by people from future generations, especially after the Song dynasty. 3. The remaining edition of "Gapeulgyeong" consists of at least 4 parts. The original edited by Hwangbomil(皇甫謐), annotations added by medicinal practitioners before the Song dynasty, Imeok's revisionary annotations during the Song dynasty, and annotations after the Song dynasty. 4. Expressions such as 'Somun says[素問曰]' 'Gugwon says[九卷曰]' and explanatory annotations like 'Hae says[解曰]' are old writings from the original text and were not added by someone later. 5. Almost all of the 'Double lined small letter annotations[雙行小字注文]' of the 'Yukgyoeng edition' was by people during the Song dynasty. 6. There are many omitted and wrong letters in the remaining edition and there are also many places where future generations edited and supplemented the text. The table of contents differ greatly from the original text. 7. The medical books that quote "Gapeulgyeong" a lot are "Cheongeumyobang(千金要方)", "Oedaebiyobang(外臺秘要方)", "Seongjaechongrok(聖濟總錄)", "Chimgujasaenggyeong(鍼灸資生經)", "Yuyusinseo(幼幼新書)", and "Uihakgangmok(醫學綱目)" and such. However, the method used in using the text differs between the medical books, so the quotation from the same book comes from a quotation used by a doctor from a different era in one("Cheongeumyobang"), or the quotation was taken from each medical book("Chimgujasaenggyeong") or the quotation was all taken from another book("Yuyusinseo"). The reason we need to know about this problem properly is because we must use medical books that quote the original text of the "Gapeulgyeong" when we are looking for text that we can use to revise through comparison.

• (The) Research of the performance art and culture
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• no.41
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• pp.133-156
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• 2020

This is a paper that examines the meaning and changes of how Dalgang Song, a parenting song, is accepted in pansori works and how it plays a role in the narrative of the work. In Chapter 2, Compared the lyrics of Dalgang-Dalgang in actual parenting scene and Dalgang-Dalgang in Pansori's work. As a result, the songs in Pansori, show some differences in lyrics, but most of them kept the narrative structure intact. Among them, Gangreung-maehwa-ga maintained the phrase "Dalgang-Dalgang" in front and back, making the least changes. Simcheong-ga and Jeokbyeok-ga maintained their epic structures, but the the front and the rear phrase turned into a "Uh huh, Doong doong". And Dalgang-Dalgang was sung mostly by its mother or grandmother at the actual parenting scene, but the song in Pansori, was all sung by men. Dalgang song in Pansori, had a mostly Gyemyeon melody due to the genre characteristics of Pansori. Also Dalgang-Dalgang for actual parenting, was sung with a leisurely, soft beat. But Dalgang song in Pansori's works were sung rhythmical with Jungjungmori rhythm or Jajinmori rhythm to maximize joy. In Chapter 3, I discussed the roles and meanings of Dalgang song contained in Pansori. Dalgang-Dalgang of Simcheong-ga appeared in the crucial process of Sim Hak-kyu's return to will of life through Simcheong after the death of his wife. In Jeokbyeok-ga, Dalgang song also appeared as a tool to recall the happy memories with his son. On the other hand, Dalgang-Dalgang of Gangreung-maehwa-ga played a role of expressing affection for relationships between men and women, not between parents and children. This is beyond the original meaning of parenting, which means the hedonistic and excessive affection of Mr. Gol. The desire to change a relationship between a man and a woman into between parents and children is also found in Kim Yeon-soo's Chunhyang-ga. This change is an example of how the role and meaning of Dalgang song has changed dramatically as it was inserted into pansori. And the reason why Dalgang-Dalgang was so important in the narrative of Pansori was because of The lyrics of the song contain the love of the baby.

• (The) Research of the performance art and culture
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• no.42
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• pp.257-290
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• 2021

The Wonju Nongyo (agricultural work song) is geographically classified as eastern minyo (folk song) which has many distinctive, regional features such as tunes, forms and the use of a melodic line. There has been growing attention to the transmission value of the nongyo including the Wonju Eorirang of the Wonju Origol Nongyo and its region of origin. The Wonju Nongyo is of great value and worthy of preservation in the western part of Gangwon Province. For this reason, it seems fairer to say that a focus should be directed towards establishing the identity of the song and increasing the contextualisation of transmission. At the same time, the preservation association's efforts in passing the traditional song down and education activities fairly deserve equal attention. In addition to the way the folk songs are handed down, a discussion on the facilitation of their use will be required. An in-depth discussion about the restoration and use of the song will be encouraged in a multifaceted manner. Unfortunately, few of the previous literatures on nongyo has gone so far as to investigate Arirang as a separate research topic. In fact, the Wonju Origol Nongyo should be viewed as an intangible cultural asset that paved the way for performance artistry of the Korean agricultural work songs to be seen at a national folk art festival. From the perspective of regional characteristics (traditionally termed "tori"), the Wonju Eorirang represents the cultural value of the manners and customs of our locals which constitute unwritten and neglected literary property and musicality of the song. Particularly, a more attention should be paid to making a record of woodcutters and diversity of farmers' small cooperative groups. The existence of the Wonju Eorirang indicates that the melodies to which the song are sung in Nongyo are of infinite variety. A minyo-singer unfolds various journeys of life through various modes and structure of epic chants, ranging from first encounter, love to marriage, realistic problems to relationship with husband's family and death. The epic chant of the Wonju Origol Nongyo contains a rich variety of regional sentiments about life. In particular, the epic chants of the Galtteukgisor and Ssoeltteukgisori are a genius example of sexual satire and a sense of humor. In the past, the agricultural work songs were rhythmic songs served to synchronize physical movements in groups, coordinating tasks in upland farming and rice paddy with the usage of catchy, repetitive verses easy to pass down. The Wonju Origol Nongyo is a precursor of the work songs which took the farming activities a notch higher to be part of the excitement and festivals. In the context of transmission, a festival serves to demonstrate the value of history and life. The value of the Wonju Eorirang should be appreciated and a concerted effort should be made to find a way to facilitate the transmission of the folk song. A folk-singer is a traditional oral poet and a storyteller of minyo and the forms and species of melody solely depend on the signer. The combination of performance and witticism is shown by the singer freely expressing himself. The Origol Nongyo symbolizes ethnic arts cleverly combining playful effects such as tune, rhythm and old agricultural work of the region. It is to be hoped that much of the efforts is directed to designating such folk songs as the archetype of a cultural heritage. In terms of the foundation on which the folk songs are transmitted, the usage(Performance Content) of a community would be an alternative.