• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.429-436
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• 2023

Traditional Chinese music has a deep indigenous color and has its own unique way of thinking and characteristics. A consensus has already been formed that linear thinking is a major feature of traditional Chinese music, and it has been implemented in both traditional multi-tone and single-tone music. It is mainly expressed in the form of single-tone music or single-tone music. This linear thought of traditional Chinese music is formed by influencing factors in various fields. For example, it is related to national culture, geographical and natural environment, religious and philosophical background, traditional Chinese notation, individual characteristics of traditional musical instruments, Yulje, composition, and transmission methods. This thinking is different from Western classical music that pursues three-dimensional thinking, and Western music emphasizes the harmony of harmony, harmony of tone and texture, logic and identity of structure, and emphasizes the aspect of space. However, traditional Chinese music emphasizes the horizontal development of melody, the fluency of ancestors, and the continuity of structure. We aims to analyze the causes of linear thinking of traditional Chinese music so that it can be more useful in educational aspects and promote the succession and development of traditional music by transferring knowledge of ethnic music.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.283-294
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• 2022

In this era of globalization, people's knowledge and cultural aesthetics are strongly influenced by the cultures of different countries, and diversified art forms have broken the traditional art framework, so how to stick to the essence of the country's traditional culture and make it inherited has became an important issue that cannot be ignored in the development of music today. Tan Dun, as one of the representative figures of Chinese contemporary music, has brought important inspirations to the development of Chinese music. With bold and free conceptions, innovative personality, unique Chinese tradition and international perspective. With a spirit of breaking down the barriers between tradition and modernity, East and West, and a concept of integrating multiple cultures into one, he has become a unique figure in the world of music. As researchers in composition, not only do we take on the responsibility of passing on Chinese culture, but we also need to explore the future development direction of Chinese music. Therefore, this paper takes Tan Dun's four traditional musical elements of organic music, Buddhist culture, witchcraft beliefs, folk songs and opera in his works and examines how Tan Dun perfectly blends traditional Chinese music culture with contemporary music language. And explore how the domestic traditional culture co-exists with modernity in today's diverse world.

• Journal of the Korea Society of Computer and Information
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• v.27 no.7
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• pp.195-202
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• 2022

The purpose of this study is to study the perceived value of consumers of traditional Chinese music training institutions, and the resulting research on the impact of customers' purchase intentions. This research refers to relevant literature on customer perceived value and customer purchase intention, and divides customer perceived value into five value dimensions: emotion, quality, experience, price and reputation. Questionnaire survey method, using SPSS analysis AMOS tool to conduct empirical research, the research results show that customer perceived value has an important positive impact on purchase intention in five value dimensions of emotion, quality, price, experience and reputation, which is a traditional music training institution. Provide reference and suggestions for improvement.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.261-272
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• 2022

During the China's long history, many ethnic groups have developed their own traditions of local music which is an important part of their precious cultures. Meanwhile, each ethnic group developed its own worldview and music culture according to its unique living environment, special lifestyle and mode of production. The clarinet is a Western instrument, and has been influenced to some extent by Chinese minority culture while being introduced to China. Therefore, musicians tried to find ways of using Western musical instruments to express various elements of Chinese minority music. Focusing on two clarinet works 'The Song of Grazing Horses' by Wang Yan and 'The Sound of Pamir Clarinet Concerto' by Hu Bijing, this paper aims to analyze the musical characteristics of minority groups expressed by the clarinet in two aspects: the formation of the music style, the artistic characteristics conveyed through the works. Specifically, it consists of five parts: ethnic mode and tonality, rhythm, time signature, melody making, and imitation of animals. It also analyzes the cultural characteristics of Tajik and Mongolian music reflected in the two works in combination with living environment, mode of production, life style, and ethnic emotions. This study aims to provide a theoretical basis for composers and performers who want to understand and acquire the musical style of modern Chinese clarinet works. It also helps to find a better way to play traditional Chinese music with Western instruments.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.2
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• pp.550-558
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• 2010

Jungganbo is a writing method for the Korean traditional music. Since writing the Korean music needs to be done by hand and Chinese characters are used, only an expert musician might handle Jungganbo. In this paper, an authoring software tool for Jungganbo is introduced. It is useful for anybody who wants to compose the Korean tradition music with a computer. This tool also enables to standardize writing techniques of Jungganbo because a musical score was done by hands without using an authoring tool. In addition, this authoring tool can be easily used since its environment is very similar to other windows-based programs such as Ms-word and Hwp. Not only the beginners but also the experts can use this authoring tool for their Korean traditional music writing easily.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.217-226
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• 2020

Ajaeng is the bowed string instrument among zither instruments in East Asia, which has a circular form to date, and it has established itself as an important instrument in today's creative Gugak along with traditional music. Looking at previous prior studies, musical instrument studies have not been actively conducted due to insufficient data from musical history studies, and this study looked at the origin, form of musical instrument, and performance methods of zither bowed string instrument through historical records of Chinese Yazheng and music drawings. The analysis of various documents showed that Ajaeng originated from an ancient Chinese traditional musical instrument called Chuk. In terms of the performance style, the Chinese Yazheng had different musical forms depending on the purpose and location of the performance, and there was a method of standing up and fixing the musical instrument horizontally to the ground. Ajaeng in Korea has been handed down without much change in the form of musical instruments introduced in China during the Goryeo Dynasty and the way they sit on the floor and play on a pedestal. Through this study, we hope that it will help to preserve and develop traditional music and Korean traditional musical instruments by enhancing understanding of musical.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.67-72
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• 2019

Animation is a comprehensive audio-visual art, animation literature, painting, music, architecture, photography and other art forms are integrated. China's animation industry has made some achievements in the new century, but on the whole, with the globalization of China, China's animation industry has been influenced by Japan and the United States. China has a history and culture of five thousand years, with profound social deposits and cultural foundation. Of the four ancient civilizations in the world, the Chinese civilization is the only one that has survived. China has too many stories to tell. From the development history of Chinese and foreign animation, we can see that many Chinese traditional cultural elements are used for reference. Since the 1980s, Chinese animation has been on the road of national revival. Chinese animation has begun to draw close to traditional culture in terms of themes, characters and scenes, and integrate Chinese traditional cultural elements. The theme of big fish and begonia is to repay kindness by sacrificing one's own life for the sake of justice and friendship. This fearless spirit of sacrificing one's life for justice is the concentrated embodiment of the fine qualities of the Chinese nation over the past several thousand years. Kun to save chun and give up his life, chun in order to repay rather give up half of his life, and qiushui in order to help their beloved, also would rather give up all of their own. These three protagonists are very distinctive personality characteristics, are to "righteousness" and give up their most precious things. At the same time, big fish and begonia combines many traditional Chinese cultural elements to form an animated film with Chinese characteristics.

• Journal of Korea Multimedia Society
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• v.13 no.11
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• pp.1728-1738
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• 2010

Pyeon-gyeong, similar to Chinese Bianqing, is a Korean traditional lithophone with multiple stone chimes. Due to the temperature- and humidity-insensitive characteristics of its material, pumice stone, the instrument provides highly stable pitch and therefore has played a key role in Korean traditional court music. By reason of having absolute pitch, it is an important part of the research on the standard pitch and scale system of korean traditional music, but as an instrument, the study on the sound characteristics and worth is not making satisfactory progress, to date. This research is an analysis paper for physical modeling synthesis of pyeongyeong. Through this study, we will determine the original characteristics of the timbre of pyeongyeong as a unique korean traditional percussion, and investigate these characteristics objectively, based on the music acoustics by scientific analysis. Furthermore, this study will be used as an important basic material for physical modeling synthesis of pyeongyeong, and also make a huge contribution to the cultural applicability by the vitalization of graft onto the various artistic creation field, through the comprehension of the timbre of pyeongyeong as an instrument.

• Journal of Fashion Business
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• v.19 no.2
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• pp.53-68
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• 2015

The Beijing Opera is one of the leading representatives of Chinese culture, which includes literature, music, dance, martial arts, and a type of performance that stems from the Chinese cultural history that is still relevant today. The purpose of this study is to develop fashion-cultural products from the Lian Pu of the Beijing Opera, a Chinese cultural tradition that receives abundant positive feedback from around the world, showing its value in both academic and practical fields. This study was carried out first as a theoretical study of the literature, definition and types of facial make up used in the Opera, as a way of examining the formative aspect. Secondly, an analysis was conducted on the main characters, 'Guan Yu' and 'Zhang Fei' of "The Romance of the Three Kingdoms", 'Li Kiu' and 'Lu Zhishen' of "All Men are Brothers" and 'Monkey King' of "Journey to West", employing the collection belonging to 'Yongqi Zhao' who is an expert on the Chinese Beijing Opera. Thirdly, two concepts were categorized, based on the analytic results of the abovementioned characters, each of which were then further categorized into three sub concepts. In regard to cultural development designs, the results of an analysis on the facial make-up color, form, and texture of the four main characters were utilized to construct the themes, "Modern Chic" and "Traditional Splendor". The simplest form that has been represented in the four figures has been applied to "Modern Chic" to show a modern image in which black, white and light blue has been used alongside the vivid red, which is a Chinese favorite, to highlight the characters. In "Traditional Splendor", which is focused on the stage art of the Opera, we see more artistic traditions and colors, to further appeal to our emotions. Traditional motifs have been applied using traditional Chinese arts, in order to develop strong and brilliant colors. The two styles of cultural products were developed in the form of women's scarves and men's ties; a total of 24 designs were expressed, using Illustrator CS6. In the final step, 4 scarves and 6 ties were produced as a sample, using high quality silk. The development of these cultural fashion products will bring an opportunity to show how Chinese traditional culture can be widely utilized in commercial market design.

• Sijohaknonchong
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• v.20
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• pp.173-195
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• 2004

In this thesis I tried to unearth some Korean Akjang, written and sung by Korean language, not by the form of Chinese verses. In 19th century they used the Korean Akjang at Court banquet cerymony in Chosun Dynasty. I had got four meaningful conclusions through this study, as follow. 1. There are various banquets but they used Korean Akjang only at YaYeon, a sort of night banquet. 2. The Akjangs arranged at YaYeon are called Ak-ka-Samn-jang which means three songs at the banquet. 3. These Akjangs were usually composed of 3 pieces of Gagok, the Korean traditional vocal music, as one. 4. The Kings and princes wrote all the words of these music.