• Publications of The Korean Astronomical Society
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• v.32 no.1
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• pp.157-161
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• 2017

The dusty torus of Active Galactic Nuclei (AGNs) is one of the important components for the unification theory of AGNs. The geometry and properties of the dusty torus are key factors in understanding the nature of AGNs as well as the formation and evolution of AGNs. However, they are still under discussion. Infrared observation is useful for understanding the dusty torus as thermal emission from hot dust with the dust sublimation temperature (~ 1500 K) has been observed in the infrared. We have analyzed infrared spectroscopic data of low-redshift and high-redshift quasars, which are luminous AGNs. For the low-redshift quasars, we constructed the spectral energy distributions (SEDs) with AKARI near-infrared and Spitzer mid-infrared spectra and decomposed the SEDs into a power-law component from the nuclei, silicate features, and blackbody components with different temperatures from the dusty torus. From the decomposition, the temperature of the innermost dusty torus shows the range between 900-2000 K. For the high-redshift quasars, AKARI traced rest-frame optical and near-infrared spectra of AGNs. Combining with WISE data, we have found that the temperature of the innermost dusty torus in high redshift quasars is lower than that in typical quasars. The hydrogen $H{\alpha}$ emission line from the braod emission line region in the quasars also shows narrow full width at half maximum of $3000-4000km\;s^{-1}$. These results indicate that the dusty torus and the broad emission line region are more extended than those of typical quasars.

• Journal of the Korean Vacuum Society
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• v.16 no.6
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• pp.489-495
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• 2007

The assembly of the main system of the KSTAR tokamak has been recently completed, and the preparation for the 1st plasma and test operations is progressed. The fueling system established for these purposes uses only one port placed at the opposite side of the pumping duct, and has a difficulty of attaining a uniform and fast supply of fuel particles to the plasma. At the base operation stage after finishing the test operation, the fueling system must be improved to provide a uniform fueling and a feed-back control in accordance with a high-density tokamak plasma maintained for a long period. As a part for understanding the points to be improved in the fueling system, a Monte Carlo simulation on the gas fueling into the tokamak plasma has been executed. After modeling the vacuum vessel and the plasma of quasi-D shapes as tori of rectangular cross-sections, the influences of the position and the number of the fueling inputs on the particle density distribution for a given pumping probability and mean free path were investigated.

• Korean Journal of Applied Biomechanics
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• v.17 no.2
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• pp.207-216
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• 2007

The purpose of this study was to biomechanical analysis Judo's Kuzushi throwing motion in order to increase the effectiveness of Nage-waja(throwing technique). The Tori was a Judo player with 18 years experience(4th degree) while the Uke was a player with 2 years experience(1st degree). The kinematic data was captured using the Vicon motion system (7 cameras) and the kinetics were recorded by force plates(2 AMTI). The following were the results; While leaning to the front the subject's trunk's angle was $14.5^{\circ}$, the lower limbs angle was $23.8^{\circ}$, knee angle was $179.6^{\circ}$ and the vertical reaction of the left leg was 325.42N(BW 0.34) and the right leg was 233.7N(BW 0.47). While leaning back the subject's trunk's angle was $11.3^{\circ}$, the lower limbs angle was $4.1^{\circ}$, knee angle was $1761^{\circ}$ and the vertical reaction of the left leg was 299.53N(BW 0.43) and the right leg was 441.7N(BW 0.64). While leaning to the left the subject's trunk's angle was $30.8^{\circ}$, the lower limbs angle was $2.7^{\circ}$, knee angle was $175.2^{\circ}$ and the vertical reaction of the left leg was 711N(BW 1.03) and the right leg was 9.2N(BW 0.01). While leaning to the right the subject's trunk's angle was $36.5^{\circ}$, the lower limbs angle was $10.4^{\circ}$, knee angle was $175.2^{\circ}$ and the vertical reaction of the left leg was 13.2N(BW 0.02) and the right leg was 694.7N(BW 1.01). While leaning to the left front corner the subject's trunk's angle was $19.8^{\circ}$ (front) and $15.1^{\circ}$ (left), the lower limbs angle was $17.8^{\circ}$ (front) and $2.4^{\circ}$ (left), knee angle was $177.8^{\circ}$ (front) and $173.9^{\circ}$(left), and the vertical reaction of the left leg was 547.4N(BW 0.8) and the right leg was 117.8N(BW 0.17). While leaning to the right front corner the subject's trunk's angle was $15.4^{\circ}$ (front) and $17.7^{\circ}$ (right), the lower limbs angle was $21.1^{\circ}$, (front) and $5.7^{\circ}$ (right), knee angle was $175.5^{\circ}$ (front) and $178.9^{\circ}$(right), and the vertical reaction of the left leg was 53N(BW 0.08) and the right leg was 622.4N(BW 09). While leaning to the left rear corner the subject's trunk's angle was $9.2^{\circ}$ (back) and $13.8^{\circ}$ (left), the lower limbs angle was $2^{\circ}$, (back) and $5.7^{\circ}$ (left), knee angle was $175.5^{\circ}$ (back) and $172.8^{\circ}$(left), and the vertical reaction of the left leg was 698.2N(BW 1.02) and the right leg was 49.6N(BW 0.07). While leaning to the right rear corner the subject's trunk's angle was $8.9^{\circ}$ (back) and $19.6^{\circ}$ (right), the lower limbs angle was ${0.6^{\circ}}_"$ (back) and $3.1^{\circ}$ (right), knee angle was $174.6^{\circ}$ (back) and $175.6^{\circ}$(right), and the vertical reaction of the left leg was 7.2N(BW 0.01) and the right leg was 749.4N(BW 1.09). It was observed that during the Judo motion Kuzushii the range of the COM varied from $26.5{\sim}39.9cm$. It was concluded that the upper body leaned further than the lower body as there was knee extension. There was high left leg reaction forces while leaning to the left and likewise for the right side. It was therefore deduced that the Kuzushi was a more effective throwing technique for the left side.

• (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.

• Korean Journal of Applied Biomechanics
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• v.14 no.3
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• pp.235-257
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• 2004

The purpose of this study was to analyze the kinematical traits variables when performing Uchimata(inner thigh reaping throw) by Voluntary Resistance Levels(VRL) and two postures of Uke in Judo. The subjects, who were one male judoka(YH) for 1992 Barcelona Olympic Games, and one male trainee Y. I. University representative member(SDK) and were filmed on two S-VHS 16 mm video cameras(60fields/sec.), that posture of Uke were Shizenhontai(straight defensive posture) and Jigohontai(straight natural posture), VRL of Uke were 0% and 100%. The kinematical variables were temporal(total time-required: TR), potures and COG variables etc., The data of this study collection were digitized by SIMI Motion Program computed the mean values and the standard deviation calculated for each variables. When performing according to each posture and VRL, from the data analysis and discussion, the conclusions were as follows : 1. Temporal variables total time-required(TR) when performing Uchimata was shown the shortest time YH than SDK by each posture and VRL. TR of each posture were shown the shorten trends or equal in DP by lower than NP, In existence and / or nonexistence of VRL was shown the shorten trends in VRL 0% than 100% of Uke. 2. Posture variables : In attacking right knee angle, YH was performing flexion($147{\rightarrow}103degree$) from Tsukuri(set-up) to Kake(execution) in regardless of postures and VRLs, SDK was performing not exchange extension and flexion in VRL 100%, and extension($120{\rightarrow}142degree$) in VRL 0%, respectively. In supporting left hee angle, YH was performing extension($119{\rightarrow}163degree$) from Tsukuri(set-up) to Kake(at(execution) in regardless of postures and VRLs, SDK extension($93{\rightarrow}139degree$), respectively. In attacking right hip angle, from Tsukuri to Kake, YH was performing extension($133{\rightarrow}169degree$), except in VRL 0%($156{\rightarrow}137degree$) NP, SDK was performing flexion($159{\rightarrow}126degree$) accept in VRL 100%($149{\rightarrow}152degree$) NP, In left hip angle, from Tsukuri to Kake, YH was performing flexion NP(70, 50degree) more than DP(27, 57degree), SDK was performing flexion DP(73, 52degree) more than NP(34, 20degree). 3. COG variables : When performing Uchimata, vertical COG variables was shown YH(:$2{\sim}8cm$), SDK(:$15{\sim}24cm$) lower than Uke's COG level position, in existence and / or nonexistence of postures and VRL, during Kake as maximum force point of throwing techniques in Judo.

• Journal of The Korean Astronomical Society
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• v.46 no.3
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• pp.125-131
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• 2013

We present the relation between the genus in cosmology and the Betti numbers for excursion sets of three- and two-dimensional smooth Gaussian random fields, and numerically investigate the Betti numbers as a function of threshold level. Betti numbers are topological invariants of figures that can be used to distinguish topological spaces. In the case of the excursion sets of a three-dimensional field there are three possibly non-zero Betti numbers; ${\beta}_0$ is the number of connected regions, ${\beta}_1$ is the number of circular holes (i.e., complement of solid tori), and ${\beta}_2$ is the number of three-dimensional voids (i.e., complement of three-dimensional excursion regions). Their sum with alternating signs is the genus of the surface of excursion regions. It is found that each Betti number has a dominant contribution to the genus in a specific threshold range. ${\beta}_0$ dominates the high-threshold part of the genus curve measuring the abundance of high density regions (clusters). ${\beta}_1$ dominates the genus near the median thresholds which measures the topology of negatively curved iso-density surfaces, and ${\beta}_2$ corresponds to the low-threshold part measuring the void abundance. We average the Betti number curves (the Betti numbers as a function of the threshold level) over many realizations of Gaussian fields and find that both the amplitude and shape of the Betti number curves depend on the slope of the power spectrum n in such a way that their shape becomes broader and their amplitude drops less steeply than the genus as n decreases. This behaviour contrasts with the fact that the shape of the genus curve is fixed for all Gaussian fields regardless of the power spectrum. Even though the Gaussian Betti number curves should be calculated for each given power spectrum, we propose to use the Betti numbers for better specification of the topology of large scale structures in the universe.

• Korean Journal of Applied Biomechanics
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• v.13 no.1
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• pp.73-94
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• 2003

The purpose of this investigation was to analyze A kinematic analysis of the Kuzushi-arm motion when performing Morote-Seoinage in judo who was 5 females university representative judokas of light weight category in judo, and filmed on video cameras(60field/s). The data of this study digitizied by KWON3D 2.1 program computed the average and standard deviation calculated individual 5 trials with Programing Lab view 6i. From the data analysis & discussion, the following conclusions were drawn : 1) distance variable of attacking hand arm in kuzushi motion Left right(X direction) displacement variable was all of A, B, C pattern with moving left to right and leaning. Strip of displacement variable was ordo. to C(55.6cm), A(53.3cm), B(43.9cm) pattern, C pattern largely leaned to left Front Rear(Y direction) displacement variable was different A($131.3cm{\pm}3.1cm$), B($128.7{\pm}4.0cm$) and C(111.0cm) on ready position, 3 pattern leaned to rear direction. Strip of displacement was order to B(43.4cm), A(41.1cm) and C pattern(28.3cm). Up down(Z direction) displacement variable was all of A, B, C pattern leaned to up in the Kuzushi-phase and leaned to down in the Kake-phase. Strip of displacement was order to A(83.9cm), B(80.4cm), C pattern(71.9cm). 2) Shoulder joint angle variable Flexion and extension Ready position' angle was A($138.3{\pm}4.9^{\circ}$), B($142.9{\pm}3.7^{\circ}$) and C($164.5^{\circ}$) pattern, strip of flexion extension was order to C($80.9^{\circ}$), A($79.9^{\circ}$) and B($39.0^{\circ}$) pattern, greatly C pattern had largely angle change. Adduction and abduction : B and C pattern's angle change were adduction and abduction in the Kuzushi-phase after adduction in the Kake phase, A pattern's angle change was abduction in the Kuzushi-phase after adduction in the Kake phase. internal and external rotation : 3 pattern were internal rotation in the Tsukuri phase and external rotation in the Kake phase. After B and C pattern were external rotation and A pattern was internal rotation. 3) Elbow joint angle variable Flexion and extension 3 pattern's ready position angle were A($142.0{\pm}4.4^{\circ}$), B($123.5{\pm}5.5^{\circ}$) and C($105.5^{\circ}$) and flexion. Strip of flexion extension were order to A($57.9^{\circ}$), C($34.6^{\circ}$) and B($25.2^{\circ}$) pattern.

• (The) Research of the performance art and culture
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• no.34
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• pp.277-313
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• 2017

This study is to find out the correlation with buddhist music after analyzing the rhythm of six pieces of PanYeombul sung by Kim Janggil out of Ogu exorcism of East coast the findings summarized are as follows. First, PanYeombul by Kim Janggil, performed on Oct, 16, 2016, was composed of , , , , , , , , , , and . Still, even if PanYeombul is performed by the same male shaman, the composition can be added or left out depending on some circumstances, which means the procedures are flexible. Seeing that there is common component of in additoin to compared with Kimyongtaek, it can be said that the component of is an important part in PanYeombul of Ogu exorcism of East coast Second, is usually referred to 'SinmyojangguDaedalani' in buddhist ritual, While Kim yongtaek accepts this practice in title, Kim Janggil uses 'YeomhwajangguDaedalani' as the title which makes his song different from others. Yeomhwa means "picking up flowers with fingers" which has been used in buddhism, not in common Considering this fact, the conclusion can be reached that by using the term 'Daedalani' from a buddhist chant, but making differentiation from buddhism, Kim Janggil is making the effort to be different from buddhist rituals. give some unique meaning to shaman rituals. Third, PanYeombul of Ogu exorcism of East coast may be divided into two main parts - the former part is PanYeombul and the latter part is Jiokga. In performing PanYeombul, male shaman sits singing alone and playing Jing himself, on the other hand, in case of Jiokga, he stands singing a solo with gwaeggwari in his hand accompanied by other musicians with the rhythm of Samgongjaebi. As the song and the accompaniment are in the form of giving and taking like duet. it is in peak in terms of music. Accordingly, PanYeombul can be divided into PanYeombul and Jiokga, But since it is performed by one male shaman and sung a solo, it is usually seen as one procedure. Jing, which is a kind of accompaniment in PanYeombul by Kim Janggil, has the role to distinguish a phrase and settle the musical paragraph. When the buddhist chant with one word-one note is performed. it requires the performer to catch his or her breath or clear throat. Just then, Jing comes out for filling out the intervals. Also, its role to distinguish a phrase and settle the musical paragraph helps make it clear to deliver words. The rhythm of Jing is mostly made up of small triple time except equal small binary time, comes out with overwhelmingly more frequency of Sutsoe(♪♩) than Amsoe(♩♪), and often shows syncopation. By often using Off Beat or short-long rhythm even in accompaniment of equal small binary time, he tris to give some variation to monotonous and equal rhythm for the musical vitality. These are similar to Sutsoe rhythm which can evoke tension and Kim Janggil makes these things his characierisiic of rhythm. Fifth, all the pieces consist of mi, sol, la, do, re and the descending melody like do'${\searrow}$la${\searrow}$sol${\searrow}$mi appears most frequently. The descending melody usually arouses the feeling of sorrow, so the sadness for the deceased is presented properly, which suggests his musical talent. Generally, pieces take on Menari-tori as a whole where the length of sol appears for a short time in descending la${\searrow}$sol${\searrow}$mi of perfect four degrees. Sixth, Even he accepts the lines of buddhist chant, he changes them in some degree. For example, he inserted some words between lines like 'Wonwangsaeng' and 'NamuAmitabul' and added Korean words like hapsosa to the lines of buddhist service written in Chinese character. Also, he inserted some words like 'iiiiiii~' to express the feeling of sadness. These are to maximize the desire of the deceased to go to the heaven and at the same time to diminish the sign of buddhism and strengthen the features of shamanism. Seventh, the effort to decrease the sign of buddhism is made in pasting lines of two songs. For example, Between the last words 'Wonsuaenapsu of Dage and the first words 'Jisimgwimyeongrye' of Chiljeongrye, there is usually a short pause to distinguish paragraphs, But he continues two songs without any pause to get rid of the feelings of buddhist chant. In terms of melody, he makes a distance from buddhist chant in an effort that he gives some traits to shaman rituals which are different from buddhist even if he uses the lines of buddhist rituals. Eighth, the analyzed pieces can be in four categories - no regular melody , , equal small binary time , eotmori melody of ten eighth time with 3+2+3+2 mixed small time . and Samgongjaebi melody 3+2+3 mixed small time . Each piece has its unique melody. Although of buddhist ritual is often performed, by using eotmori melody, he evokes the feeling of shaman and is another example of giving unique characteristic to the shaman of East coast by using Samgongjaebi melody.

• Korean Journal of Applied Biomechanics
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• v.15 no.4
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• pp.191-203
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• 2005

It was to study a following research of "A Kinematical Traits Analysis when Performing Uchimata(inner thigh reaping throw) by Posture and Voluntary Resistance Levels(VRL) of Uke in Judo[1]" and. "A Case Study of Center of Gravity(COG) when Performing Uchimata(inner thigh reaping throw) by Posture and Voluntary Resistance Levels(VRL) of Uke in Judo[II]". The purpose of this study was to analyze an angular momentum of trunk and lower extremity when performing uchimata by two postures and voluntary resistance levels(VRL) of uke(reciver) in Judo. The subjects, who were one male judoka(YH) for 1992 Barcelona Olympic Games Olympian(silver medalist), was filmed on two S-VHS 16mm video cameras(60fields/sec.) through 3-dimensional motion analysis methods, that postures of uke were shizenhontai (straight natural posture:NP) and jigohontai (straight defensive posture:DP), VRL of uke were 0% and 100%, respectively. The variables were angular momentum of trunk, lower extremity of attacking leg and supporting leg of tori(the thrower). The data of this study collection were digitized by SIMI Motion Program computed the mean values and the standard deviation calculated for each variables. When performing uchimata according to each posture and VRL of uke and classifying. From the data analysis and discussion, the conclusions were as follows : Angular momentum of trunk when performing uchimata was showed the largest among another angular momenta, and the posture displayed more different than resistant of uke(reciver), but the pattern similar in judo. Angular momentum of trunk of X axis was the largest and Y, Z axis order. Angular momentum of attacking the thigh-leg when performing uchimata was showed the largest among another angular momenta, and the posture displayed more different than resistant of uke(reciver), X axis and Y axis similar, but angular momentum of Z axis of thigh-leg the largest, in kake(application) event in 0% resistance of DP than other variables. Angular momentum in X,Y axis of attacking the lower-leg when performing uchimata was showed that the resistance level displayed more different than posture, but Z axis the largest, in kake(E3) phase in 0% resistance of DP than other variables as same thigh-leg, and the largest from tsukuri(set-up:E2) to kake(E3) phase. X and Z axis Angular momentum of supporting the thigh-leg were similar, regardless of posture and resistance of uke, but Y axis was resistance level. Angular momentum of supporting the thigh-leg was showed the largest in X axis, increased from EO event to E2, and decreased in E3, and angular momenta of Y, X axis were showed the largest in kuzushi(balance breaking) phase when performing uchimata. Angular momentum of supporting the lower leg were similar pattern, regardless of posture and resistance of uke, in Y axis, resistance displayed more difficult the position in NP, and showed opposite angular momentum in tsukuri phase. In conclusion, angular momentum of trunk when performing uchimata was showed the largest, and pattern was similar, regardless of posture than resistant of uke(reciver), magnitude and direction were different each other, and uchimata was Ashi -waza(foot and leg techniques) division but important of trunk action.

• (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.