• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.241-246
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• 2021

Ladysmith Black Mambazo is a group of men influenced by South African traditional Zulu a cappella and American black music. The Jubilee Choir of the United States came to South Africa in the 1870s and influenced South African music while performing. Ladysmith Black Mambazo's music can be the result of the combination of the indigenous Zulu a cappella and the American Jubilee music style. This group participated in Paul Simon's album "Graceland" and became world famous. The album won a Grammy Award for sales of millions of copies. After that, they released their own albums and won 5 times Grammy Awards (nominated 15 times) They inherited and developed Zulu music under the philosophy of "preserving musical heritage". As a samely non-Western country, with hope their spirit, inheriting old one and innovating new one, gives positive inspiration for Korean music, I investigated how their music, 'Black Is Beautiful', 'Homeless' are influenced by the western music and inherited their own traditional music in it.

• Journal of Gifted/Talented Education
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• v.22 no.1
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• pp.61-85
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• 2012

The OSPG(Observation Scale for Parents of the Gifted in Korean Traditional and Western Music) is one of the tools for screening of the Gifted in Korean traditional and Western music. So the validity and reliability of the OSPG has an influence on securing validity of the whole identification process. The purpose of this study is to examine the validity and reliability of the OSPG-2 that input screening processing, and to suggest systematization of identification processing for the Gifted in Korean traditional and Western Music. For the achievement of this purpose, this study administered the OSPG-2 to 261 gifted students aged between 13 and 16 in the middle or high school for the arts. To validate the OSPG-2, I analyzed items of the OSPG-2, and conducted the exploratory and confirmative factor analysis. I also examined the internal consistency. As a result of the exploratory factor analysis, I collected 40 items of the OSPG-2 finally. Furthermore, I could identify psychological construct of the Gifted in Korean traditional and Western Music. The consequence of confirmative factor analysis, the model provided good fit to observed data. As a result of reliability analysis, the internal consistency of the internal characteristic verified Cronbach's ${\alpha}$=.939, and the internal consistency of the external environmental characteristic verified Cronbach's ${\alpha}$=.887. This result of validity study reflects the fact that the OSPG-2 is a valid scale and is able to input to gifted educational field instantly.

• Journal of Gifted/Talented Education
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• v.23 no.1
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• pp.1-24
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• 2013

The OSTG (Observation Scale for Teachers of the Gifted in Korean Traditional and Western Music) is one of the tools for screening of the Gifted in Korean traditional and Western music. So the validity and reliability of the OSTG-2 has an influence on securing validity of the whole identification process. The purpose of this study is to examine the validity and reliability of the OSTG-2 that input screening processing, and to suggest systematization of identification processing for the Gifted in Korean traditional and Western Music. For the achievement of this purpose, this study administered the OSTG-2 to 195 teachers of gifted students aged between 13 and 16 in the middle or high school for the arts. To validate the OSTG-2, I analyzed items of the OSTG-2, and conducted the exploratory and confirmative factor analysis. I also examined the internal consistency. As a result of the exploratory factor analysis, I collected 22 items of the OSTG-2 finally. Furthermore, I could identify psychological construct of the Gifted in Korean traditional and Western Music. The consequence of confirmative factor analysis, the model provided good fit to observed data. As a result of reliability analysis, the internal consistency of musicality verified cronbach' ${\alpha}$=.852, and the creativity verified cronbach' ${\alpha}$=.894, the task commitment verified cronbach' ${\alpha}$=.924. This result of validity study reflects the fact that the OSTG-2 is a valid scale and is able to input to gifted educational field instantly.

• CELLMED
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• v.8 no.2
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• pp.10.1-10.2
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• 2018

The aims of this article is to examine that Daegeum Sanjo Rhythm (DSR) compare with Jinyang-jangdan and Jajinmori-jangdan on music therapy. Daegeum has the largest range of notes in wind instruments through Korean music. Jangdan is the essential element of rhythm in Korean music. Just as human body sound and resonant with their rhyme and meters, jangdan has its own rhythms of physical structures and sequence and repeat. Jinyang-jangdan, which is close to western minor code, expresses heartbreaking grief and great mourning feeling, so it makes one feel the catharsis through that rhythm. Jinyang-jangdan of daegeum music may be slow, but it can be sublimated into grim music for human. So, people overcome the sadness through grim music. On the other hand, jajinmori-jangdan gives charm and gaiety to people and to everything. So, it is exciting that it's often performed in festival and parade. Rhythmical music is a tool to improve the well-being of humanity and increase our life choices. Therefore, music therapy surely needs both influences of daegeum sanjo music regardless of the rhythm. Because, daegeum sanjo music is nature-friendly music of the rhythm.

• (The) Research of the performance art and culture
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• no.33
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• pp.223-242
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• 2016

The Korean $taeg{\breve{u}}m$, a horizontal bamboo flute, is considered a representative wind instrument of Korean traditional music. Symbolized by its unique timbre and diverse techniques, this instrument transmits the beauty of Korea, and has become acknowledged even in international music scenes. Being a $taeg{\breve{u}}m$ player, composer, and ethnomusicology researcher, I have developed creative collaborations with musicians from Asian, electro-acoustic, jazz, and Western art music traditions developed outside my country of origin and tried to overcome musical boundaries through the 'intercultural performances' (after Turner 1988). Zooming in one collaboration, I detail the process of music creation and performance, collaborating with prominent Korean composer Kim $Taes{\breve{o}}ng$ (b.1967), who was commissioned by myself to write two compositions for the $taeg{\breve{u}}m$ and Western art music. The purpose is twofold: firstly, the modernization and appropriation of the Korean flute is briefly tracked down within the context of Western Art music. Secondly, a performance project is illustrated with the support of technical apparatuses such as DVD and CD recordings and delves further into the question of the 'cultural relativism' (Michael Tenzer, 2006: 7) through the interactive process. The performance-as-research, as a tool 'actualizing' (Richard Schechner 2003: 32) the hybridity, touches on critical domains in Ethnomusicology. The corresponding two parts discover, as Alan Merriam's(1964) 'tripartite model' suggests, the 'context' of Korean and Western cultures, the 'behaviour' of collaborating and performing and the 'sound' of improvised and composed productions in the course of music making.

• (The) Research of the performance art and culture
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• no.37
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• pp.249-293
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• 2018

The Musical Theatre was a popular art genre that originated from the western musical tradition represented by the European opera. In the twentieth century, it bloomed around Broadway in the United States. It is also one of the commercial arts which is popularly loved by the public in the field of performing arts all over the world at present. Due to the nature of this genre, the development of dramas and the expression of characters use music, not words or gestures, as the main medium. And the style of music reacts sensitively to the taste of the public, not to a particular class. When Japan colonized Korea, the empire strongly believed modernization equaled westernization and Japan was the one who could awaken Korean. The Japanese colonial music education was intended to bring cooperation and obedience to Japan by forcibly injecting Japanese ideology and culture into Joseon people. The music education of colonialism with the textbook of the "Songs for public education(보통교육 창가집)" compiled by the Japanese government was a sparkstone for the conversion of the Korean musical identity to Japanese and Western music. In addition to the capitalistic economical mechanism for establishing a South Korean government friendly with the United States during the Cold War after liberation, and the rush of American Pop culture represented by 'the show stage in 8th US Arm' and 'movies' which are to be the influence of invisible 'new cultural imperialism', our traditional music was confined to the meaning of 'Korean music', meaning 'past music'. In Korea, after the liberation, the musical was introduced by the influx of American popular culture. In accordance with the cultural policy of Park Jeong-hee regime, which aimed to spread the 'healthy culture' through the modernization of traditional arts, 'The Yegreen(예그린악단)' was founded. However, the plan to create a contemporary performing art based on Korean national arts showed the possibility of success in 1966 with the success of , but soon after, they have been destined to fall into an institution that has lost their ability to operate on their own due to the suspension of the sponsorship of the regime. Due to the cultural imperialist strategy of the influence of Japanese imperialism's colonial music education and influx of American popular culture after liberation, in the early days of Korean musicals, our traditional aesthetic style brought about the situation of the 1960 's, which did not become an independent ethnic art through the exchange and expansion with Western music. This is the background of the western licensed musicals led by the Korean musical market in the 21st century as well as the main cause of musical creation based on western music.

• 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.

• Korean Institute of Interior Design Journal
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• no.34
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• pp.61-68
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• 2002

It aims to understand how the time can be expressed in architecture from viewpoints of Oriental and Western philosophy. We just have done sporadic studies such as historical time, physical time, specific time, time as the space-time continuum and appreciation time. It`s impossible to find out that time exactly is since `time` is ambiguous. Because the meaning is formed newly by relational changes between visible and invisible existing thing. In such point of view, this study attempts at analyzing the inter-relationship between the art, music, architecture and time-concept in oriental and western philosophy. A comparative study follows : Time can be classified into the linear concept of time & the cyclic concept of time in an agricultural civilization and oriental philosophy. Linear concept of time can be divided into 1)the inevitable concept of time and 2)the 4-dimensional concept of time and 3) the indefinite concept of time.

• Proceedings of the Korean Society of Precision Engineering Conference
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• 1996.11a
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• pp.450-455
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• 1996

Emotional intelligence is investigated in terms of a composing machine as a modern abstract art form. Music has the longest tradition of being an art form which has an explicit formal foundation. Formal aspects of traditional and modern music theory are explained in terms of simple numerical relationship and illustrated with examples. The exploration of art in the view of intelligence, information and structure will restore the balanced sense of art and science which seeks happiness in life.

• The Journal of the Korea Contents Association
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• v.9 no.3
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• pp.152-163
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• 2009

This essay researches which affective responses can be made from musical elements of Korean traditional music through adjective description about mood responses. It results that traditional mode which are classified into Pyoungjo and Gyemounjo hardly have any the affective responses, while major and minor mode, tempo, tone color, vertical and horizontal texture have some effects on particular affects. Meanwhile, newly composed Korean traditional music have more effects for as inducing affective responses rather than works as old Korean traditional music. As well as Western music, Korean traditional music induces different affective responses to each musical element. As such, this aspects can be adopted to different realms like background music, commercial music, music therapy and so on.