• Korean Journal of Agricultural and Forest Meteorology
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• v.25 no.1
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• pp.37-47
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• 2023

The black cutworm, Agrotis ipsilon (Hufnagel), is an important crop pest worldwide that feeds more than 80 plant species including cabbage, potato, maize, wheat and bean, and this moth is a typical pest attacking underground parts of crops. It has been known in farm booklets that the larvae of A. ipsilon overwinter in the soil in Korea, but no definitive data exist yet. This study was conducted to evaluate that the specific appearance time of A. ipsilon observed actually in the field could be explained when we assumed that this pest overwinters in a form of larvae or pupae. Degree day-based phenology models were applied for tracking forward or backward to find the predicted developmental stage which developed at a specific stage found in the field. As a result of the analysis, it was confirmed that an initial population could be established in a group that does not overwinter as larvae or pupae in Korea. In other words, the appearance of adults in early March to April could not be explained by the presence of domestic overwintering populations. Populations that overwinter as larvae or pupae in Korea were able to emerge as adults in June to July at the earliest. Therefore, the group of adults appearing in early spring is highly likely to be a population that migrated from outside Korea. Taken together, it was estimated that the colony of A. ipsilon in Korea would be formed by a mixture of a migrant population through long-distance migration and a overwintering population.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.31 no.2
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• pp.226-244
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• 1998

The relationship between the transport of eggs and larvae of Anchovy (Engraulis japonica) and the oceanic condition in the southern sea of Korea was examined on August and November 1996. In summer (August), when the Tsushima Warm Current is strong near to the coast, the warm waters such as warm streamers from the Tsushima Warm Current intrude into the coastal area, and cyclonic circulations are formed. The warm water intrusions also generate wakes around Komun Island, Sori Island and Koje Island. In the coastal area where the warm water intrusions occur, the nutrients, dissolved oxygen, suspended solid and chlorophyll are concentrated in probably relation to the upwelling concerned with this warm streamer and/or the wakes. Anchovy eggs and larvae are transported to the coastal area by the cyclonic circulations. The hatching and growth of anchovy larvae are increased because of high primary production in the cyclonic circulations. However, as the amount of Copepods which are a main food for anchovy larvae decrease in the coastal area, anchovy larvae seem to move to the Isushima Warm Water area for seeking a prey. In autumn (November), the Tsushima Warm Current is far away from the coast. In this season the warm water intrusions almost disappear, and the small scaled frontal eddies are formed between the coastal water and the Tsushima Warm Water. As the surface water moves towards offshore, few anchovy eggs and larvae were sampled in the survey area. Chemical and biological substances are concentrated in the leftdown sides of the small scaled frontal eddies because of eddy formation.

• Journal of the Korean Society of Fisheries and Ocean Technology
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• v.39 no.1
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• pp.8-18
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• 2003

In order to investigate the oceanic condition of fishing ground in the adjacent sea of Naro Island, the oceanographic observation were carried out by the training vessel of Yosu National University on winter, spring, summer, and autumn in 2000. Main features in the observation are as follows; 1) the ranges of temperature, salinity, and chlorophyll-a were from 4.$3\circ_C$ to 10.$1\circ_C$, from 33.1 psu to 34.9 psu, and from 0.1 $ug$/$\Omega$ to 26.2 $ug$/$\Omega$ in winter, from 8.$1\circ_C$ to 13.$7\circ_C$, from 33.1 psu to 34.3 psu, and from 0.1 $ug$/$\Omega$ to 24.4 $ug$/$\Omega$ in spring, from 14.$5\circ_C$ to 24.$2\circ_C$, from 30.5 psu to 34.1 psu, and from 0.1 $ug$/$\Omega$ to 30.0 $ug$/$\Omega$ in summer, and from 14.$8\circ_C$ to 18.$6\circ_C$, from 30.1 psu to 34.0 psu, and from 0.1 $ug$/$\Omega$ to 19.1 $ug$/$\Omega$ in autumn, respectively, 2) the temperature in the coastal region was higher than that in the open ocean while salinity was lower, and the convection was identified between the surface and the bottom during in winter and autumn, and the thermocline were made between surface and 20m layer with vertical gradients of 4.$0\circ_C$/7m in summer, 3) the chlorophyll-a in the this region was varied in each season, being highly distributed in spring, on bottom and coastal region, and 4) an evidence of sea water intrusion toward Sori Island was observed, and of inner water intrusion from Yeoja Bay was observed.

• (The) Research of the performance art and culture
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• no.37
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• pp.157-186
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• 2018

Ulsan Soeburi song was reenacted in the 1980s based on the testimony and songs of late Choi Jae man (1987 death), the last blacksmith of the iron production plant at Dalcheon dong, Ulsan in August 1981. The purpose of this study is to analyze Soeburi song from the musical perspective based on 13 kinds of data including video in 1981, and confirm the changing patterns in the tradition process. The derived results are summarized as follows. In the results of examining Soeburi Song data in 2017, the percussion instruments consist of kkwaenggwari 2 (leading small gong 1, follow small gong 1), jing 2 (large gong 2), buk 4 (drum 4), janggu 4 (double headed drum 4), taepyongso 1 (Korean shawm 1), and Jangdan (rhythm) consists of five such as Jilgut, Jajinmori, Dadeuraegi, Deotbaegi, Jajin Deotbaegi. The vocal songs are sung accompanied by the Deotbaegi Jajin Deotbaegi (beat) of quarter small triplet time, or without accompaniment. The scale is mostly Mi La do's third note or Mi La do re's fourth note, and the range does not exceed one octave. All the cadence tones are the same as La. From the results of observing Soeburi song performance until today after the excavation in 1981, it is found that there are four major changes. First, the composition of the music is differentiated into 'long Jajin (slow fast)', and , , and are added. Second, the singing method is based on 'single cantor + multi post singers' since 1980's reenactment, and a single post singer was also specified from time to time. In addition, , which was performed in 2013, became the foundation of . Third, a melodic change of was observed. All beat structures are quarter small triplet time, but the speed gets slow, Mi La do's three notes are skeletonized to be corrected with high re and low sol, and then the characteristics of Menari tori (the mode appeared in the eastern province of the Korean peninsula) are to be clear. Lastly, the four percussion instruments such as kkwaenggwari, jing, janggu, and buk are frequently used, and depending on the performance, sogo (hand drum), taepyongso, yoryeong (bell) are also added. Jangdan played Jajinmori, Dadeuraegi, Deotbaegi and Jajin Deotbaegi from the beginning, and thereafter, the Jilgut Jangdan was added. Through these results as above, it is confirmed that at the time of the first excavation, a simple form of such as has been changed into a male labor song, the purpose of which has changed, and that the playability has become stronger and changed into a performing arts.

• (The) Research of the performance art and culture
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• no.39
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• pp.415-455
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• 2019

This paper aimed to clarify the identity and category of the Jeong Jeongnyeol-je Chunhyangga from the perspective of the pansori transfer, while revealing the trajectory of Jeong Jeong-ryeol-je Chunhyangga, which remains in the modern pansori. Jeong Jeong-ryeol's Chunhyangga pansori part has been handed out to date, and except for the love song section, the pansori section, which corresponds to the love-separate-suffering-reunion paragraph, is almost complete. In the case of "Lee Doryeong enters Dongheon," "Hwangneungmyo song," and "The royal secret inspector visits Chunhyang's house to console her", there is a difference in pansori rhythm compared to Chunhyangga, which is currently held. "Why Yi Doryeong came to Chunhyang's House" is used in the form of an Aniri in the current Chunhyangga and "Chunhyang is treated as a virtuous woman in Namwon" is the only one included in Park Rokju's Changbon. "The royal secret inspector gathers people of Namwon to give a feast" is a new part that is not found in Chunhyangga, which is now being held, and can be seen as the Changgeuk sori of pursuing theatrical fun. On the other hand, this paper confirmed that the period between 1936 and 1937, when the Joseon Traditional Vocal Music Group actively performed Changgeuk and the record companies released a series of Changgeuk records, such as and , was an important time for the re-establishment of the Jeong Jeong-ryeol-je Chunhyangga, and that the Chunhyangga of those who had learned it before 1936-1937 was different from those who had learned it after that period. The preceding group includes Park Rok-ju, Kim Yeo-ran and Kim So-hee, while the latter group includes Kim Yeon-soo, Jung Kwang-soo, Park Dong-jin, Jung Kwang-soo and Kang Do-geun. In addition, except for Kim So-hee, these two groups are divided by the time they have learned Jeong Jeong-ryeol-je, whether they inherit the Jeong Jeong-ryeol-je from beginning to end, and by the gender of male and female singers. In teaching his pupils, Jeong Jeong-ryeol chose to use the "old-fashioned pansori" teaching method with impromptu plate-making in mind and the "modern pansori" teaching method with stereotyped sounds in mind. As a result, there were two aspects of Jeong Jeongryeol-je Chunhyangga's succession: a female singer-centered succession, which was held as learned from beginning to end, and a male singer-centered succession, which was held differently depending on the pansori schools or versions.

• (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.

• Journal of Science Education
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• v.47 no.3
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• pp.238-250
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• 2023

This study aims to explore the effect of an appropriate technology program related to water acquisition and purification on scientific attitudes and creative problem-solving skills in elementary school students. Thus, this study developed a learning program related to the appropriate technology composed of 8 sessions, and some were for exploring water acquisition-related scientific principles and the appropriated technology of Warka Tower, and the others were for conducting water purification-related inquiry experiments, such as Life Straw and Drinkable Book, and the last two sessions were for presenting practical tasks through creative ideas and designs and carrying out the relevant campaign activities. For research subjects, this study selected 51 students from two sixth-grade classes, and after modifying the scientific attitude questionnaire and the creative problem-solving skill questionnaire fit for the environment and situation, this study conducted a paired-sample t-test by applying both the questionnaires before and after this program. In addition, while looking into the correlation between scientific attitudes and creative problem-solving skills, based on the post-test results, this study examined relationships between sub-domains perceived by the students after this program was applied. The results can be summarized as below. Out of all the scientific attitudes, curiosity, openness, cooperation, and creativity showed statistically significant results with an increase in the average value when their overall averages of the pre-test were compared with those of the post-test. With creative problem-solving skills, the domain of mastering a specific area and the domain of divergent thinking showed statistically significant results. The correlation analysis results showed that cooperation out of the scientific attitudes had a significant correlation with all the domains of creative problem-solving skills, especially showing the highest correlation coefficient with such sub-domains as critical and logical thinking. All the four domains of creative problem-solving skills showed a number of significant correlations with the sub-domains of scientific attitudes. Through the research results above, this study has several implications on how and where to apply such appropriate technology-related topics in the future and various responses from students.

• (The) Research of the performance art and culture
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• no.25
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• pp.253-289
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• 2012

Dasiraegi is a traditional funeral rite performance of Jindo located in the South Jeolla Province of South Korea. With its unique stylistic structure including various dances, songs and witty dialogues, and a storyline depicting the birth of a new life in the wake of death, embodying the Buddhism belief that life and death is interconnected; it attracted great interest from performance organizers and performers who were desperately seeking new contents that can be put on stage as a performance. It is needless to say previous research on Dasiraegi had been most valuable in its recreation as it analyzed the performance from a wide range of perspectives. Despite its contributions, the previous researches were mainly academic focusing on: the symbolic meanings of the performance, basic introduction to the components of the performance such as script, lyrics, witty dialogue, appearance (costume and make-up), stage properties, rhythm, dance and etc., lacking accurate representation of the most crucial element of the performance which is sori (song). For this reason, the study analyzes the music of Dasiraegi and presents its musical characteristics along with its scores to provide practical support for performers who are active in the field. Out of all the numbers in Dasiraegi, this study analyzed all of Geosa-nori and Sadang-nori, the funeral dirge (mourning chant) sung as the performers come on stage and Gasangjae-nori, because among the five proceedings of the funeral rite they were the most commonly performed. There are a plethora of performance recordings to choose from, however, this study chose Jindo Dasiraegi, an album released by E&E Media. The album offers high quality recordings of performances, but more importantly, it is easy to obtain and utilize for performers who want to learn the Dasiraegi based on the script provided in this study. The musical analysis discovered a number of interesting findings. Firstly, most of the songs in Dasiraegi use a typical Yukjabaegi-tori which applies the Mi scale frequently containing cut-off (breaking) sounds. Although, Southern Kyoung-tori which applies the Sol scale was used, it was only in limited parts and was musically incomplete. Secondly, there was no musical affinity between Ssitgim-gut and Dasiraegi albeit both are for funeral rites. The fundamental difference in character and function of Ssitgim-gut and Dasiraegi may be the reason behind this lack of affinity, as Ssitgim-gut is sung to guide the deceased to heaven by comforting him/her, whereas, Dasiaregi is sung to reinvigorate the lives of the living. Lastly, traces of musical grammar found in Pansori are present in the earlier part of Dasiraegi. This may be attributed to the master artist (Designee of Important Intangible Cultural Heritage), who was instrumental in the restoration and hand-down of Dasiaregi, and his experience in a Changgeuk company. The performer's experience with Changgeuk may have induced the alterations in Dasiraegi, causing it to deviate from its original form. On the other hand, it expanded the performative bais by enhancing the performance aspect of Dasiraegi allowing it to be utilized as contents for Performing Arts. It would be meaningful to see this study utilized to benefit future performance artists, taking Dasiraegi as their inspiration, which overcomes the loss of death and invigorates the vibrancy of life.