• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

• (The) Research of the performance art and culture
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• no.39
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• pp.457-507
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• 2019

The purpose of this study is to explore the formal and content features of the material for the Changgeuk album , which was produced and released in 1971. Changgeuk album was produced and published as a headword for "Changgeuk". However, it differs from the style of Changgeuk which is treated as a stage drama in that the narrative is developed around the commentary and dialogue in the formal aspect and the Pansori is only partially used. The styles of Changgeuk, implemented through gramophone record, radio broadcasts and television broadcasts, varied widely, unlike those of Changgeuk established in the 1930s. Pansori music wasn't the only center, and traditional performers weren't even the main members of the play. The characteristic form of the Changgeuk album is an experiment of Changgeuk that emerged naturally with radio reading and the advent of radio dramas in the 1950s and 1960s. So it is necessary to pay attention to the Changgeuk album in that it shows diverse forms of experiments conducted by Changgeuk in the newly introduced culture and media in the middle and late 20th century As for the contents of the Changgeuk album , the work embraces Lee Jong ik 's novel (1957), but develops the narrative centering on the life of Saint Sa-myung(四溟大師). And it is faithfully portraying the life of a Buddhist monk and the national salvation hero who pursued the original work. This content composition can be understood in the will of singer Lee Yong bae, the soundman who produced the album, and in the flow of historical dramas that summon the historical hero of the old country of the time to the stage. Singer Lee Yong bae reflects on his life in the past when he was full of greed and conceit through his life as a monk of Saint Sa-myung(四溟大師) and is greatly impressed by the personal aspect of Saint Sa-myung(四溟大師), and these emotions encouraged his creative will. Also, the Changgeuk record is meaningful in that it is one of the specific materials that embodies the national hero as a record and a traditional play under the discourse of the people, the nation in the 1970s.

• (The) Research of the performance art and culture
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• no.23
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• pp.63-103
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• 2011

This paper inquires closely into the background of pansori gosu(drummer) and his social position based on documents and oral materials and the performance features of gosu in the entire process of pansori performance, 'preparation', 'performance' and 'aftermath', focused on the relationship between the changja(singer)-gosu. In the past, some gosus were ex-tightrope performers. Their social position and working conditions were better than that of the ex-tightrope performers but were worse than that of the pansori singer. After 1910's, people formed some special sense about the gosu due to the change of the space for pansori performances and the technological advances on the media, and gosu's conditions improved. The theory of pansori drum gradually began to be established well. The function and the role of gosu in the whole process of pansori performance may be summarized as follows. To begin with, the training with various and a lot of singers is required in the 'preparation'. Rehearsals are divided into individual practices and joint practices, and the latter can be controlled by the level of the capacity of gosu and the degree of the experience between chanja-gosu. Next, bobiwi(flattering drumming) and chuimsae(encouraging remarks) are important in tbe 'process'. The gosu has to share the speed of one jangdan(rhythmic patterns) and the accent of the sori and adjust his enery. Besides, he has to acknowledge the naedeureum(beginning sign) and reply with changja's singing. In formal performances, working in harmony with changja and gosu and their joint experiences are necessary for the gosu; in pansori contests, giving chanja a stability; in contests for gosu, drumming skill, position, chuimsae; in small performances and new adaptation of pansori, cheap fees and positive response of the transformational play or ad-lib; in lecturer concerts, reacting quickly to rapidly changing situations. Chuimsae is way which gosus and audiences express their feeling together, however, its context and sound are different. Finally, 'aftermath' is a process the pair of chamgja and gosu mutually evaluates about performance or audiences estimate that.

• Korean Journal of Cognitive Science
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• v.17 no.2
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• pp.103-118
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• 2006

The main purpose of this paper is to investigate the effects of discourse topic and morpho-syntactic verbal information on the resolution of null pronouns in the Korean narrative text within the framework of the construction-integration theory (Kintsch, 1988, Singer & Kintsch, 2001, Graesser, Gernsbacher, & Goldman. 2003). For the purpose of this paper, two conditions were designed: an explicit condition with both a consistently maintained discourse topic and the person-specific verb modals on one hand, and a neutral condition with no discourse topic or morpho-syntactic information provided, on the other. We measured the reading tines far the target sentence containing a null pronoun and the question response times for finding an antecedent, and the accuracy rates for finding an antecedent. During the experiments each passage was presented at a tine on a computer-controlled display. Each new sentence was presented on the screen at the moment the participant pressed the button on the computer keyboard. Main findings indicate that processing is facilitated by macro-structure (topicality) in conjunction with micro-structure (morpho-syntax) in pronoun interpretation. It is speculated that global processing alone may not be able to determine which potential antecedent is to be focused unless aided by lexical information. It is argued that the results largely support the resonance-based model, but not the minimalist hypothesis.

• Journal of the Korean Society for Aeronautical & Space Sciences
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• v.43 no.12
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• pp.1062-1070
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• 2015

This paper presents an application of an optimal smoothing filter for moving target tracking problem based on measured noise source. In order to measure distance and velocity for the moving target, a beamforming method is applied to use the noise source by using microphone array. Also a Kalman filter and an optimal smoothing algorithm are adopted to improve accuracy of trajectory estimation by using a Singer target model. The simulation is conducted with a missile dynamics to verify performance of the optimal smoothing filter, and a model rocket is used for experiment environment to compare the trajectory estimation results between the beamforming, the Kalman filter, and the smoother. The Kalman filter results show better tracking performance than the beamforming technique, and the estimation results of the optimal smoother outperform the Kalman filter in terms of trajectory accuracy in the experiment results.

• Journal of Acupuncture Research
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• v.26 no.2
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• pp.59-70
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• 2009

Objectives : Although CTTH is one of the most common symptom in primary headache, the mechanism and treatment is not definite. The purpose of this study is to research about clinical characteristic and roentgenographic finding of the cervical spine in CTTH to determine relationship between the cervical spine and headache. Methods : This study was carried out on 93 patients with CTTH. By roentgenographic finding, they were classified into four groups - HNP, Spondylosis, Sprain, Normal. Then the HNP group was divided again into two groups - singer type and multiple type. Results: 1. Among 93 patients with CTTH, 69(74.19%) patients had abnormal cervical spine by roentgenographic finding. 2. There were HNP, spondylosis, sprain in abnormal roentgenographic finding. And a great majority of the patients were diagnosed as cervical sprain. 3. There were no significant difference between four groups on sex, weight, height, blood pressure, pulse, respiratory rate. But on ages, the HNP group showed the highest average while the sprain group showed the lowest. 4. The patients in HNP group had more frequent, severe pain, longer onset and higher onset-age than those of the other three group. 5. The patients in Multiple-type HNP group had severe pain, longer pain-duration, longer onset, more pre-symptoms and younger onset-age than those of the Single-type HNP group. Conclusions : A great majority of the patients with CTTH had abnormal cervical spines. Also, we found out that the worse the grade of HNP, heavier the level of headache.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.2
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• pp.205-211
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• 2020

The public knows the singer Shin Haechul as a musician who performs various musical activities as a producer, singer, and songwriter. However, he was also an all-encompassing entertainer who has been involved in different fields of popular media. His musical tendency is very progressive, and he pursues various attempts to create experimental fusion style music. Among his albums, 'MonoCrom' is the result of a combination of unique techno music and traditional music, and this album is known to bring the level of Korean popular music one step further in terms of musical value and meaning towards a new, unique sound. In this album, gukak holds great importance. In addition to the traditional samulnori instruments such as kkwaenggwari, janggu and jing, instruments like daegeum, taepyeongso, pumba and taryeong were used to show more progressive and expanded crossover music through the collaboration with gukak. In order for the current 'K-Pop' to continue to gain worldwide popularity, it needs a new attempt based on musical expandability. Therefore, if gukak is used as in the album MonoCrom, unique and differentiated music will be created, and will continually promote the worldwide interest in 'K-Pop'.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.10 no.10
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• pp.3004-3010
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• 2009

The Korean pop music people enjoy today is mostly based on the pop music from foreign countries. Therefore, not only is the history very short, but also not much research is done in the Korean pop music field. Especially in terms related with the singing method, in other words the breathing and vocalization of Korean singers, it is difficult to define where it is actually situated. To add a little, it seems as if it is swarming somewhere in the middle of Korean traditional music singing methods and classical music vocalization. As pop music made its way into Korea, Korean singers had to go through many trial and errors to sing the songs of singers that had different physical conditions. Singers getting vocal nodules because of excessive vocalization, was not a surprise at that time. Yongphil Jo, a Korean singer, wanted to overcome his limits and maximize his vocal abilities. He found the answers in Korean traditional music. One of his representative songs, "The lady out the window", is one of Jo's title songs and it is the song that made a turning point in the Korean pop music vocalization. The purpose of this research is to understand the circumstances of Korean pop music through the periodical and musical background of the past and find out why the song (The lady out the window) was such an epochal vocal method at that time. Moreover, this paper covers how the breathing and vocalization is expressed by analyzing the flow, the emotional expressions, and the techniques of "The lady out the window."

• The Journal of the Korea Contents Association
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• v.20 no.9
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• pp.29-42
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• 2020

The purpose of this study is to present a qualitative research method for extracting and analyzing the comments written by YouTube video users. To do this, we used YouTube users' feedback to measure the hedonic, social, and utilitarian gratification of use and gratification theory(UGT) through by using analysis and topic modeling. The result of the measurement found that the first reason why users watch the trot singer, Cho Myung-sub's video in the KBS Korean broadcasting channel is to achieve hedonic gratification with high frequency. In word-document network analysis, the degree of centrality was high in words, such as 'cheering', 'thank you', 'fighting', and 'best'. Betweenness centrality is similar to the degree of centrality. Eigenvector centrality also shows that words such as 'love', 'heart', and 'thank you' are the most influential words of users' opinions. The results of the centrality analysis present that the majority of video users show their 'love', 'heart' and 'thank you' for the video. it indicates that the high words in centrality analysis is consistent with the high frequency words of hedonic and social gratification dimension of the UGT. The study has research methodological implication that shed light on the motivations for watching YouTube videos with UGT using text mining techniques that automate qualitative analysis, rather than following a survey-based structural equation model.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.12
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• pp.327-332
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• 2016

Sting (Gordon Sumner) is a British musician and singer-songwriter. He was the principal songwriter, lead singer, and bassist for the new wave rock band 'The Police' from 1977 to 1984, before launching a solo career in 1985. With his stylish and sophisticated sensibility and musical spectra, he achieved 100 million album sales. In this thesis, after he disbanded the group THE POLICE, his career as a solo artist with his wide variety of musical colors has been acknowledged for his reputation over more than 30 years. Therefore, I analyze 'Sting' of music included in 'Straight To My Heart' and 'Be Still My Beating Heart' in. Songs in indicate that the drum part the tunes that there is in a record doesn't break away from the basic way of music. The role of the whole rhythm division through the various percussions or can see a synthesizer than the role as the cord musical instrument that there are lots of tunes placing a great deal of weight on the role as the rhythmic musical instrument more. The unique instrument-based rhythm of the early Sting and role dispensation create a unique sound that is quite different from what the musician subsequently recorded. The feature and rhythmic characteristic, which is the arrangement that appeared outstandingly in this record, I am trying to explain about the way in which I lead the basic flow of the tune through the rhythm division of the other musical instruments which I split that is, the drum beat and break away from a rhythm from the divided general way and include a percussion.