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.
Journal of the Korean Academy of Child and Adolescent Psychiatry
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v.11
no.1
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pp.110-123
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2000
The short-term music therapy was performed for adolescents with conduct disorder admitted to Seoul National Mental Hospital for 3 months from Jun to September, 1998. This case study focused mainly on two female patients who participated regularly in the group music therapy. The music therapy process was divided into three phases;beginning, opening up, and closing. This music therapy session consisted of three parts;hello song as beginning, various musical activities, and sound & movement activity as closing. Free musical improvisation, song discussion, musical monodrama, and sound & movement were the mainly applied techniques. Free improvisation was used to enhance, motivate, identify and contain the adolescents' feelings and ideas. Song discussion was used to convey their thoughts and to support each other. Musical monodrama was used to make them have insights into interpersonal relationships. Sound & movement was used to enhance spontaneity. It made them explore their body and voice as an expressive medium. Throughout three months period of music therapy, patient A's communication skill, socialization, and behavior areas were assessed with improvement. She could use music as a symbolic form and was able to share her feelings about herself and her family. Patient B's self-expression and cognitive areas were assessed with improvement. She became more spontaneous and could verbalize her emotions during the group session. Music as a non-verbal and therefore often a non-threatening medium wherein so much can be expressed provided two female patients an atmosphere where a sense of trust may be regained.
Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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v.18
no.2
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pp.122-128
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2007
This study aims to analyze the voices of the patients with voice disorders including vocal fold paralysis, vocal fold cyst and vocal nodule/polyp in the aspect of acoustic phonetics. This study intends to collect subsidiary acoustic data in order to make a speech treatment and an standardization of vocal disorders. Subjects and Methods: The subjects of this study were 64 adult patients who underwent indirect laryngoscopy and laryngostroboscopy, and were diagnosed as vocal fold paralysis, vocal fold cyst or vocal nodule/polyp. Experimental group consisted of 20 patients who were diagnosed as vocal fold paralysis, 21 patients who were diagnosed as vocal fold cyst and had the average age of 42.0 $({\pm}10.03)$ ; and 23 patients who were diagnosed as vocal nodule/polyp and had the average age of 40.9 $({\pm}13.75)$. For the methodology of this study, the patients listed above were asked to sit in a comfortable position at intervals of 10cm apart from the patient's mouth and a microphone, and subsequently to phonate a vowel sound /e/ for the maximum phonation time with natural tone and vocal volume then the sound was directly inputted on a computer. During recording, sampling rate was set to 44,100Hz and the 1-second area corresponding to stable zone except the first and the last stage of waveform of the vowel sound /e/ vocalized by the individual patients was analyzed. Results: First, there was no statistically significant difference in jitter and shimmer between vocal fold paralysis and vocal fold cyst, while there was highly statistically significant difference in them between vocal fold paralysis and vocal nodule/polyp. Second, looking into the mean values obtained from NNE, HNR and SNR results associated with noise ratio, the disease showing the most abnormal characteristics was vocal fold paralysis, followed by cyst and nodule/polyp in order. For NNE, there was statistically significant difference between vocal nodule/polyp, and cyst or paralysis. In other words, it was found that the NNE of vocal nodule/polyp was weaker than that of cyst or paralysis. Similarly, HNR and SNR also showed the same characteristics; there was statistically significant difference between vocal fold paralysis and vocal fold cyst or nodule/polyp, and HNR and SNR values of vocal fold paralysis were lower than those of vocal fold cyst or nodule/polyp. Conclusion: For vocal fold paralysis, the abnormal values of acoustic parameters associated with frequency, amplitude and noise ratio were statistically significantly higher than those of vocal fold cyst and nodule/polyp. This finding suggests that the voices of the patients with vocal fold paralysis are the most severely injured due to less stability of vocal fold movement, asymmetry and incomplete glottic closure. In addition, there was no statistically significant difference in the acoustic parameters of tremor among vocal fold paralysis, vocal fold cyst and vocal nodule/polyp. Further studies need to ascertain reasonable acoustic parameters with various vocal disorders as well as to clarify the correlation between acoustics-based objective tools and subjective evaluations.
Journal of Sasang Constitution and Immune Medicine
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v.18
no.1
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pp.30-40
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2006
1. Objectives The present study purposed to examine the contents and the principles of music therapy according to Oriental medicine theories in order to prove that music therapy is not a new research area but its principle is found in the long tradition of Oriental medicine. 2. Methods We investigate the possibility of music therapy based on Oriental medicine theories and examine the meanings of music therapy from the viewpoint of Oriental medicine. 3. Conclusions and discussions (1) The principles of music therapy are the principle of homogeneity, catharsis and balance. (2) When one’s mind changes, there are naturally occurred sounds, which are called Oseong (五聲: the oriental five voices exhalation, laughing, singing, wailing and groaning), and the notes defined by arranging the Oseong according to the principle of Ohaeng (五行: the oriental five phases wood, fire, earth, metal, water) are Oheum (五音: the oriental five musical notes Gakeum, Chieum, Gungeum, Sangeum and Wooeum.). If Eum (musical notes) is classified into Ohaeng, it can be divided into Gakeum, Chieum, Gungeum, Sangeum and Wooeum. (3) Change of Sinji (神志: consciousness) induces change of Gigi (氣機: function of Gi), which can change the character of voices. Oseong controls the functions of Ojang (五臟: the oriental five viscera) by ruling one’s Jeongji (情志: emotion). It can reduce the damage of the viscera caused by excessive vent of emotion resulted from unconscious expression of Oseong - Hoseong (呼聲: exhalation), Soseong (笑聲: laughing), Gaseong (歌聲: singing), Gokseong (哭聲: wailing) and Sinseong (呻聲: groaning). (4) Yijeongseungjeong (以情勝情: Control emotion with emotion) therapies, which suppresses an emotion by stimulating another, include Noseungsabeop (怒勝思法: Control anxiety with anger), Heeseungbibeop (喜勝悲法: Control sorrow with joyfulness), (思勝恐法: Control fear with anxiety), Biseungnobeop (悲勝愁法: Control anger with sorrow) and Gongseungheebeop (恐勝喜法: Control joyfulness with fear). (5) Seongeum (聲音: voices and musical notes) can be applied to a stimulation method that not only harmonizes the rhythm of living organs but also controls the occurrence of diseases caused by mutual Pyeonseongpyeonsoi (偏盛偏衰: relative preponderance and weakness) through direct induction of the strength and weakness of Gi function of the oriental five viscera in a human body according to the individual character. Sounds preferred by the patient, the material of an instrument selected by the patient, the character of rhythm and music expressed by the patient and the sound or voice uttered frequently by the patient can be considered in diagnosis and treatments for the patient’s body and mind.
Background and Objectives:Supraglottic partial laryngectomy is oncologically sound surgical procedure for selected cases of laryngeal cancer which maintains physiologic speech and swallowing without permanent tracheostoma. The purpose of this study is to evaluate the oncologic and functional results of supraglottic partial laryngectomy and neck dissection for supraglottic cancer. Materials and Methods:Between 1991-2005, Twenty-three supraglottic cancer patients, underwent supraglottic partial laryngectomy, were studied retrospectively. There were 5 patients with cT1, 14 with cT2, 4 with cT3 and 11 patients with cN0, 1 with cN1, 10 with cN2, 1 with cN3. All patients underwent neck dissection and postoperative radiotherapy was added to twenty patients. They were reviewed with respect to primary subsites, extended subsites, treatment result, survival rate, factors affecting the prognosis, postoperative complication, time of decannulation and oral diet, and postoperative voice. Results:Among eleven patients with clinically negative node, six patients had pathologically positive nodes. So occult metastasis was 54.5%. Two patients recurred at cervical lymph node and one had distant metastasis to lung. Local and regional control were 100% and 91.3%. The overall 3-year and 5-year survival rate were 84%, 78%, respectively. Nineteen cases were squamous cell carcinomas and four were basaloid squamous cell carcinomas. Basaloid subtype was significantly affected to survival. Decannulation and oral feeding were possible in 100%. Conclusions:Supraglottic partial laryngectomy is oncologically safe and functionally good procedure in supraglottic cancers. Elective neck dissection is beneficial in management of occult cervical metastasis.
This study aimed at the analysis, from the perspective of rationality, of policy making process in the separation of prescribing and dispensing. This study is to identify the characteristics and problems of the policy process to introduce the new durg-prescription system, and make policy recommendations. In terms of separation of prescribing and dispensing, the development of policy making process can be divided into two periods; periods before and after the inauguration of the govemment of people. In the period before the govermment of poeple, one of the major characteristics of policy decision on the new system was the poweful influence of interset groups. At that time, the ministry lacked the problem-solving ability and commitment on the policy. Consequently, during the former period, the policy making process had been driven by interest groups. Therefore, the original purpose of the policy to secure the pulic health was lost. During the latter period, there was also the strong influence of interst groups, complexity of interest, the ministry's inability of problem solving. However, in this period, it is notable that this has drawn nation-wide attention, severl civic grouos have participated in the policy making process, and that the number and voice of these groups have remarkably increased. With regards to rationality, incrementalish model is highly sutable to explain the policy making process in the former period. But in the latter period when the new drugperscripition system became a national issue and civic groups began to participte in this matter more actively, rational model is more explanatory that incrementalism to understand the process. During the latter period, the original goal of this policy was not distored by a few interest groups thanks to the rapid development of civil movement and therebly a big influence of civic groups on the policy making. For that reson, a jigh level of rationality is found in the policy-making process of the latter period. Some suggestions to achieve the rationality in the policy making process based on the results of this study are as follows; Frist, the public's participation should be enered in the policy making process. Second, the govermment should make contiuns efforts to enhance its ability of long-term planning and policy implementation, and increase rationality of policy making process. Third, balance among interset groups should take place in the process of policy making. Forth, sound, constructive, and logical activity of interest groups is necessary to express and promote their interests.
Musical is produced by multiple specialists including director, writer, composer, lyricist, choreographer, music director, actors/actresses and so on. For the success of one musical, all the people with different background should demonstrate their creativities. The basic frame of a work is made by writer, composer and lyricist first unless it is a licensed musical. They are called as Creative Team, and also director, choreographer, actors/actresses and staff are called as Production Team. Both teams are collectively called as Creative Staff. Then, the secondary creative staff members may participate in the work depending on the production size, and each team can consist of the members such as music director, stage designer, sound designer and so on. The staff related to music in Creative Team of the musical is developed with the initiation from the music supervisor who decides the musical color and genre of the work, the fragmentation and the specialization. However, composer or music director takes these roles in charge in Korea. This study aims to establish the roles and concept of vocal coach according to the fragmentation of working process and to investigate their roles and needs in the domestic musical industry upon case analysis of musical production processes in overseas. The common things and differences in the roles and the functions between ordinary voice teachers and musical vocal coaches were analyzed and the cases of vocal coach in the Korean musicals were reviewed by the interviews. In addition, creative team system was reviewed in the Korean musicals.
Oh, Seungbin;Jang, Jun-Hyuk;Park, Jin Hyoung;Kim, Hongtae
Journal of Navigation and Port Research
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v.37
no.4
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pp.401-407
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2013
In parallel with the development of ship equipment, bridge systems have been improved, but marine accidents due to human error have not been reduced. Recently, research in nautical bridge equipment has focused on suitable ergonomic designs in order to reduce these errors due to human factors. In a bridge of a ship, there are numerous auditory signals that deliver important information clearly to the sailors. However, only a few studies have been conducted related to the human recognition of these auditory signals. There are three types of auditory signals: voice alarms, abstract sounds, and auditory icons. This study was conducted in order to design more appropriate auditory icons using a sensibility evaluation method. The auditory icons were rated to have five warning situations (engine failure, fire, steering failure, low power, and collision) using the Semantic Differential Method. It is expected that the results of this study will be used as basic data for auditory displays inside bridges and for integrated bridge alarm systems.
It is known that the voicing contrast for Japanese word-initial stops is primarily realized as differences in the voice onset time (VOT). However, recent studies have reported that voiced stops are more often produced with a positive VOT than with a negative VOT among the younger generation nationwide. It is also known that post-stop F0 is associated with the stop contrast, but the degree of F0 use differs from region to region. This study explores whether the difference in post-stop F0 functions as a perceptual cue to the stop contrast along with VOT. Fifty-five college students who are native listeners from four different regions participated in two or three perception tests. The results show that VOT is a primary cue to the voiced-voiceless distinction of word-initial stops, but that the effect of post-stop F0 on the stop contrast is marginal. The post-stop F0 is involved in perception only when VOT is ambiguous, such that a sound with high F0 is more often perceived as a voiceless stop, but not vice versa. The results of this study indicate that the acoustic parameters associated with the stop contrast are not the same in production and perception, and suggest that other factors such as context, which is not an acoustic characteristic, may also be involved in the stop contrast.
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.
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