• The Journal of Korean Medical History
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• v.30 no.2
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• pp.101-118
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• 2017

Purpose : This paper explores the extent to which ZangFu diagrams made after Northern Song Dynasty were influenced by ZangFu diagrams made before Northern Song Dynasty, and how diagrams of the whole body and heart originated from MingTangZangFuTu and affected each other when quoted in books published after Northern Song Dynasty. Method : The author used four form factors including heart shape, internal curved lines, cylinder-like structures above heart, and wuzangxi (五臟系) which resembles a lotus flower which has not yet bloomed, to analyze and compare different ZangFu diagrams before and after the Northern Song Dynasty. Results : Two form factors, the shape of heart and wuzangxi, are described in ZangFu diagrams before Northern Song, and may have influenced ZangFu diagrams after Northern Song. However, the other two form factors (internal curved lines and cylinder-like structures above the heart) did not influence ZangFu diagrams after Northern Song. All form factors of heart found in WuCangLiuFuZhiTu (within the whole body) and diagram of heart in ZhenJiuJuYing (鍼灸聚英) were most similar, but the two paintings became less similar as they were cited in several books. With the exception of the form factor with structures above heart, the three other form factors are almost identical between two paintings produced after Northern Song dynasty, as displayed in the same book. Conclusion : ZangFu diagrams of the heart produced after Northern Song Dynasty, were not completely based on ZangFu diagrams made before Northern Song Dynasty. Diagrams of whole body and those of the heart were changed, while influencing each other after Northern Song.

• Journal of the Korean Solar Energy Society
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• v.26 no.3
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• pp.111-117
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• 2006

Song-do City is a newly constructed city built on land reclaimed from the seaside and the surrounding area. Its development involved a long process since the basic plans for reclamation of the publicly owned seaside area in Song-do were drawn up in September 1979. However, if we take a look at the overall status of the project as it is carried on at present, it is hard to deny that the project is trapped inside the same legal restrictions as are all other existing cities, which permits Song-do City to meet only very minimum standards. This study intends to analyze and assess the Song-do City's environmentally friendly construction and to rate its current development status, exposing any problems and offering alternative solutions. In this paper, the current state of constructions in Song-do City were reviewed. Then a quantitative analysis and assessment for the Song-do City constructions of apartments, complex buildings, office buildings, and school facilities were conducted by using green building certification criteria. Finally the synthetic results of environmental performance evaluation for Song-do city constructions and follow-up suggestions were described.

• Journal of the Korean Society of Costume
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• v.34
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• pp.57-66
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• 1997

This thesis is mainly on the study of Gongbok(official dress) and Sangbok (usual dress) in the system of official o-utfit of the Song dynasty. The Song dynasty has not left many historical remains due to the vicious cycle of intermittent internal disturbance and several outside invasions. According to the records of the Song dynasty which identified official dress with usual dress saying "the official dress of every government officers is his usual dress" this thesis is concentrated on the study of official dress and usual dress among many different types of official outfit. In the Song dynasty had survived until the year of 1123 from the year of 960 us-ing the four colour system of purple chi-nese red green and blue. The four colour system of purple deep red. green and black of official outfit of the Song dy-nasty the first year of Wonpung's regin and wearing Eodae(fish sack)is a sure sign of influence of the system of the Song dynasty.g dynasty.

• The Research Journal of the Costume Culture
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• v.3 no.1
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• pp.125-155
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• 1995

This research has been studied the influence of Song Dynasty mode upon clothes and ornaments of Korea Dynasty by Seo Gung's (徐競) 『SunWhaBongSa KoryoDoKyung』(宣和奉使高麗圖經) and in Korea Dynasty period, by Buddhist picture. The clothing of the Song Dynasty was quite reserved and conservative, fewer variations and quiter colours thus conveying a feeling of simplicity and naturalness. Their clothings were no more luxurious than the clothing of Dang Dynasty. We had read that when Seo Gung visited Korea for month, and then it is in Emperor Injong's reign(A.D. 1123). Korea women's clothes and ornaments were followed by Song dynasty's clothing pattern as much as the took notice of Korea women's clothing. Korea DoKyung showed Song women's clothing that whal clothing that whal clothing (華衣), Yuansam(圖經) were Korea women's a ceremonial dress and so, Koryo women's clothing were very influenced by Song's mode. The conclusion of the research are as follows found out that Korea women's a ceremonial dresses were similar to Song's.

• Journal of Korea Multimedia Society
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• v.22 no.6
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• pp.639-645
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• 2019

This paper proposes a salient chromagram components extraction method based on the temporal discrete cosine transform of a chromagram block to improve cover song retrieval accuracy. The proposed salient chromagram emphasizes tonal contents of music, which are well-preserved between an original song and its cover version, while reducing the effects of timbre difference. We apply the proposed salient chromagram extraction method as a preprocessing step for the Fourier-transform based cover song matching. Experiments on two cover song datasets confirm that the proposed salient chromagram improves the cover song search accuracy.

• CELLMED
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• v.13 no.2
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• pp.1.1-1.5
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• 2023

The purpose of this study is to propose a role as healing music through Hoesimgok's interaction. The song "Hoesimgok (悔心曲, 回心曲, Regretting Song)" means a song that expresses regret. There's nothing more desperate than my parents in a song of regret. Your heart for your late parents must be the thing you regret the most. We always think that we should be filial to my parents, but we can't. We are under a lot of stress due to situations and environments that are unintentionally not filial. Audiences who show self-reflection on their filial piety become emotional identities with those who sing with the lyrics and actions of songs and music. Therefore, Hoesimgok is a song and a prayer. Music exerts a range of powerful biological effects beyond nice sound and furthermore, it is expanding to music therapy. It can also bring about peace of mind by regulating sympathetic nervous system excitation. Our results suggest that Hoesimgok can have the effect of making listeners as well as singers happy.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.187-225
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• 2021

This study examines how international song festivals shaped Korean musicians' sense of the world in the 1970s and early 1980s. After the Korean composer, Yi Pongjo, won a top-10 prize at the Yamaha World Popular Song Festival in 1970, an astonishing number of Korean musicians participated in international song festivals held in Japan. Meanwhile, Korean broadcasting companies strengthened their cooperative relationship with Japanese television stations and initiated their own international song festivals in the late 1970s: Munhwa Broadcasting Corporation (MBC)'s Seoul International Song Festival in 1978 and Tongyang Broadcasting Corporation (TBC)'s World Song Festival in 1979. During the first two years of its festival, MBC organized its song contest by collaborating with television stations in Hong Kong, Taiwan, Japan, and the ASEAN countries. However, the World Song Festival was more critically acclaimed because TBC invited renowned musicians from America and European countries, including Yugoslavia, in collaboration with the International Federation of Festival Organizations (FIDOF). Thus, from 1980, FIDOF helped MBC attract composers and singers from Europe and America to their Seoul International Song Festival. This paper sheds light on connections within the popular music arena between South Korea and the outside world during the Cold War-a subject that has been poorly examined.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.49-62
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• 2020

Musicals are plays in which songs and dances are closely aligned with the plot development of the play, and songs and dances develop specific situations and a series of events. In particular, songs perform a fuction of causing the significant changes and emotional ventilation and amplification in the play by specifically capturing the goals and actions the characters are aiming for. This paper focuses on the song that takes on the function of the plot deployment, defines songs that embody actions and stories on stage' as 'action songs' and highlights their role and importance. Action Song is not a clearly defined or prescribed term in Musical. However, 'Action Song' is a song about how a character's desire or motivation for action, given as a 'character song' inserted at the beginning of an integrated musical play, provides a conflict that is a central event of action. In other words, 'action song' means a song that organically combines music and narrative by conveying the action on the stage as a song with lyrics. In addition, it is a song that moves the plot forward and contains a series of events or actions that are the material of the plot. This paper is intended to summarize the concept of'Action song which is not well known to us, and to lay the foundation of the stud, learned the concept, function and efficiency by the analyses of script and music of the musical . As a result, action songs accumulate and amplify tension caused by conflicts and induce the audience to immerse in their emotions. At the same time, the action song multiplies fun and interest of the play while the audience's expectation increased for the next scene after the action song and the progression of the play with single action makes the contents of the drama to be understood clearly.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.3
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• pp.127-144
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• 2022

This paper aims to analyze the different external images of women expressed in ancient artwork through the socio-cultural background and the aesthetic view during the Tang and Song dynasties of China. The research method contains a literature review involving the collection of historical literature, thesis, and artwork data. The image of women according to the aesthetic view of the two periods is summarized as follows. In terms of face shape, the Tang pursued a round face while the Song pursued a more slender shape. As for hair ornamentation, the Tang wore various shapes of hair buns like "Paojiaji", and decorated them with coronets. The Song wore various types of braided hair called "Tongxinji", but the coronets were smaller and more sophisticated. For makeup, the Tang wore colorful and heavy makeup and the Song makeup was lighter and more elegant. In attire, the Tang followed revealed shape, used splendid colors and thin, transparent material. The Song exhibited a more simple design and was conservative and neat, using luxurious silk fabric with low chroma. In body shape, the Tang pursued the "beauty of obesity" with a voluptuous body shape; the Song pursued the "beauty of gaunt" with a slim body shape. As the result of the analysis according to the aesthetic views of the Tang and Song dynasties, women of Tang were depicted as rich, and women of Song were rather neat. The research on the aesthetic views that changed according to the development of social civilization and the status of women will play an active role in the transmission and development of traditional Chinese culture. At this point, the paper may contribute to the creation of images of women as well as changes in the art of future generations.

• Journal of Practical Agriculture & Fisheries Research
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• v.23 no.2
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• pp.25-32
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• 2021

There is a need to breed and distribute of domestic varieties for Lilium longiflorum because most of the lily bulbs cultivated in Korea were imported from foreign country. The L. longiflorum 'Ace' and 'Nellie White' collected from 1996 had been self-crossed from 1996 to 2010. In 2012, the L. longiflorum 'Bright LoSong' was developed as a F₁ hybrid crossed between 'L₂-17-4' and 'L₂-16-6' that obtained by 7th self-fertilization. The 'Bright LoSong' was tested for homogeneity, regional adaptability test, consumer preference show from 2014 to 2015, and it was registered in 2017. The flower of 'Bright LoSong' is a trumpet shaped single flower with no spots.It has 5.8 flowers per plant, which is a relatively many number compared control 'Mount Carmel', Its flower diamater is 9.8cm, relatively a bit small size. And the flower inflorescence has umbel or raceme while the attitude of longitudinal axis is horizontal. The plant height is 38.4cm with 30.8 leaves per plant and 1.9cm of the leaf width. 'Bright LoSong' has a longer flowering period because of relatively small diameter or many number of flowers than those of the control 'Mount Carmel'. Thus, the 'Bright LoSong' showed a high consumer preference, and the cultivar has the advantage of being able to reproduce since the parents are pure lines.