• Sijohaknonchong
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• v.30
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• pp.91-107
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• 2009

This study is to examine how Sijo is being accommodated to modern Gagok by comparing them. In details, the work is about comparison between three verses in Sijo and twofold grouping in modern Gogok, JoongYuUm in traditional Gagok, YuBak in Sijo, the interlude, ADanSungJang, and changing verses in modern Gagok. First point is about three verses in Sijo and a rhythm of twofold grouping in modern Gagok. In particular, modern Gagok is treated as a group of twofold leaving three verses of Sijo. The way is chosen that whether it sets on an interlude into a song or the third part of three verses in Sijo is extended to avoid its logic of music and poem. Second, the discussion moves points on between an interlude in traditional Gagok and in Sijo. In the process of grouping twofold in modern Gagok, the parts which are interludes of both in traditional Gagok and in Sijo, combined with the interlude of the modern Gagok. It shows that the modern Gagok is affected on both the traditional Gagok and the Sijo. In addition, it explains elements of ADanSungJang - - tones and sounds in the modern Gagok. Originally, the traditional Gagok and sijo are composed of tones and sounds. At this point, tones are short, whereas sounds should be longer. This kind of way in the song has appeared on the modern Gagok of Hong, Nan-Pa. Lastly, the factors is about changing verses of modern Gagok. The one of differences between the modern Sijo and traditional Sijo is verses. For example, when it comes to sijo by Lee, Eun-Sang, he used to create his sijo with three verses. Hence, he did not change verses on his works. Whereas, the modern song "The Spring Lady" by Hong, Nan-Pa has shown the phenomenon that is separating three verses into six verses. It is noticeable that this phenomenon in "The Spring Lady" has the same bases with the modern Sijo.

• The Transactions of the Korean Institute of Electrical Engineers
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• v.33 no.1
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• pp.1-8
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• 1984

The system of synchronous generator with power static converter are analyzed in detail and the output characteristics of generator are computed by digital simulation. The power static converter is considered as 3-phase converter in which the interlude interval and the commutation interval repeats itself six times per cycle. The synchronous generator is considered as a direct-phase quantities model for a more exact study of the performance. As the numerical method for nonlinear differential equations of the system, the Runge -Kutta method is used.

• Journal of Digital Contents Society
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• v.13 no.2
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• pp.177-187
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• 2012

This research considers growth of digital music industry and the consequential changes in the environment of music consumption, and how environment of purchasing digital music has influenced music's length and forms. Meaningful data such as average length of music, average time taken to chorus, appearance of intro, interlude, outro, and precedence of chorus has been collected from K-Pop of 2000 to 2011 through this research. Result has shown music sample streaming service in internet music industry has brought changes in music's length and formation, which leaded to birth of hook songs. Through this case of consumer's environmental influence on music, research predicts music industry will look forward to achieving techniques to deliver music more effectively by adopting the content's download-based internet environment.

• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.63-73
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• 2021

This study aims to analyze music of Yoon-sang, as a part of musical research, which is the most fundamental approach among academic studies on Korean popular music. Yoon-Sang is a representative composer, who has gone through the 1980s to the present. The result of analysis of 21 songs created by Yoon-Sang showed that his songs are mostly characterized by tonal music, in which chord relationships develop focusing on keynotes. The reason why his music does not sound uniform pursuing stability is he properly added the progression of chromatic chords, based on diatonic chords and melodies. Dominant 7th chord and diminished 7th chord are used the most among diverse techniques adding chromatic colors. Along with these chords, chromatic intervals are used not only in chord progression but also in melodies. The successive, ascending or descending movement of the base line is his common composition and arrangement technique revealed in every song. One of formal changes with the stream of the times is that the number of measured in the pre-chorus and interlude that were of great importance in his songs of the 1990s decreased over time. With regard to harmonic changes, whereas modulation between parts was applied to his 2 songs created in the 2010s. Yoon-Sang's music had one strong tonality overall, but his music began to have more than two tonalities starting the 2010s, and this is a big variation in his music.

• (The) Research of the performance art and culture
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• no.35
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• pp.61-92
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• 2017

During the Japanese colonial era, traditional music performances were gradually diminishing and weakening in the particular condition of colonization. Meanwhile, from the time of enlightenment, Western genre performances were becoming vitalized with the influence of Western civilization that began to be spread steadily throughout the society. In that situation, traditional music performances tended to be mixed performances accompanied by Western ones, not independent performances. Mostly, they were accompanied by Western music, and also, they were performed along with other genres like plays, lectures, movies, dances, or magic, too. Such form of mixed performances accompanied by Western genres became even more vitalized in the 1920's and came to be positioned as a form of traditional music performances. Therefore, research on the forms of mixed performances between Western genres and traditional music is meaningful in examining the forms of traditional music performances that have not been studied in the history of Korean modern music and understanding the trends of traditional music performances which were generally found in the Japanese colonial era. However, such research has hardly been conducted concretely yet. Accordingly, concerning the forms of mixed performances between Western genres and traditional music in the 1920's, this author considered the background of vitalizing mixed performances between Western genres and traditional music mainly with newspaper articles of the time and their formal characteristics. Regarding the background of vitalizing the forms of mixed performances between Western genres and traditional music, from the 1920's, the forms of mixed performances between Western genres and traditional music became more vitalized than before. The causes of that may include the increase of groups hosting or sponsoring such performances from the 1920's and also the dramatic increase of such performances in general. Moreover, the increased performances were conducted in the forms of mixed performances mainly in order to satisfy the people's needs becoming diversified with the distribution of Western civilization. Concerning the formal characteristics of mixed performances between Western genres and traditional music, this researcher classified western genres performed with traditional music and examined what characteristics were found in such mixed performances of tradition music by the types of Western genres respectively. First, in the mixed performances type of western-type genre and traditional music, the number of programs for the western music had significant portion in general, and there were certain ensemble of the western music and traditional musical instrument that was rare at this period of time, and it also had the characteristics of classifying two genres to perform for each title or date. Second, in the mixed performances type of the drama and traditional music, the traditional music is directly participated in the drama with the similar type to the theater, or performed independently from the drama with the role of interlude performance for the stage conversion of the drama to have the characteristics of performing in audience publicity or entertainment. Third, in the mixed performances type of the lecture and traditional music, the traditional music is played before or after the lecture to play the role to set the atmosphere and entertainment for the lecture as displaying the feature to perform for the audience attraction. And, fourth, in the mixed performances type of the movie and traditional music, the traditional music sometimes directly participated in the movie or had the features of independent performance, and there was a characteristic to perform for the entertainment after showing a movie.