• The Journal of the Convergence on Culture Technology
• /
• v.7 no.3
• /
• pp.375-382
• /
• 2021

Adolescents with disabilities have unnatural behavior and language, which makes it difficult to use soft and flexible language and behavior, and lack of learning experience has limitations in not being free in mature behavioral communication. Eurhythmics musical rhythm elements were divided into time and space, power and weight, and balance and fluidity and reflected in teaching and learning so that adolescents with disabilities could have comfortable, creative, and original thoughts that bring about changes in thawing. In order to increase the effectiveness of education in the direction of observing the effect of improving self-esteem, communication, and creativity of adolescents with disabilities, the study guide applying the Eurhythmics rhythm element was fused with music education, art education, and physical education, and interviewed by selecting research participants. Based on the questionnaire, an observation method suitable for the study of adolescents with disabilities was conducted. As a result of the study, it was observed that the educational effect of the disabled youth was improved as a result of conducting the class by applying the Eurhythmics rhythm elements time and space, force and weight, balance and fluidity by integrating music, art, and physical education(line dance, playtime). Therefore, to supplement the limitations in this learning process, various educational methods applicable to the education of youth with disabilities, a support system that can reflect Eurhythmics education through physical play, and a method to properly compose various learning tools do.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.1
• /
• pp.117-129
• /
• 2021

Nowadays, the trend of early childhood education has focused on finding educational activities to enhance quality of learning with integrative, learner-centered experience by combining each subject and domain. Pre-service early childhood teacher's music drama activity is a sort of integrated education including literature, instrumental music, play, art and movement that are included in the culture and art for preschoolers to help them understand role and value of the art and directly influence personality and creativity and motive to arouse interest in various learning directly. It's expected to see that development of creative teaching plan for the music drama using piano ensemble could support basic research in integrated educational activity in the teacher training course and also, activate the music drama activity. Research findings and suggestion are as follows. First, the music drama activities are systematically and step-by-step implemented according to the audience according to the cooperative learning and creative plans of pre-service early childhood teachers. Second, if understanding characteristics of casts in the music drama and assigning their roles efficiently, it enhances approach of pre-service early childhood teacher music drama activity and activate it. Third, making music in music drama activities can be composed and arranged to suit the musical literacy and level of pre-service early childhood teacher. Fourth, pre-service early childhood teachers could have integrated experience and evaluation efficiently in the short term to use as reference for the teaching plan and data for the music drama.

• Journal of Music and Human Behavior
• /
• v.20 no.2
• /
• pp.61-88
• /
• 2023

This case study examined whether a cooperative musical instrument playing could enhance interactions between children with autism spectrum disorder (ASD) and their neurotypical (NT) siblings. It involved three children with ASD aged 7-12 years and three NT siblings aged 6-11 years. Each group, comprising a child with ASD and their NT sibling, participated in a 40-minute sessions twice weekly for eight sessions over four weeks. The intervention included three stages: simultaneous action, complementary action, and achieving a joint goal. Evaluation criteria included the initiation and response behaviors of each child, and sequential interactive behaviors and cooperative behaviors between pairs were measured. Additionally, before and after the intervention, parents and NT sibling assessed their perceived sibling relationships. Results showed increased interactive and cooperative behaviors. Post-intervention, both parents and NT siblings rated the sibling relationship highly, despite little change in sibling conflict and competition consciousness. These findings indicate that interactive instrument playing can enhance perceptions of siblings as cooperative play partners and aid in teaching them how to collaborate during interactions.

• (The) Research of the performance art and culture
• /
• no.20
• /
• pp.251-307
• /
• 2010

Manbojeonseo, a kind of an encyclopedia published several times in Ming Ch'ing dynasty, includes useful information for scholars and common people on daily lives. In 1720, Manbojeonseo was first introduced to Joseon(朝鮮) dynasty by the diplomatic corps visiting Ch'ing dynasty, and widely circulated in the society as an useful information magazine or an individual collection of reference book. Since Manbojeonseo includes the systematically-organized contents of Geumdoron(琴道論, a theory of a heptachord), it could provide a useful reference when the Geumdoron was inserted as the contents of old scores. For an instance, Obultan(五不彈), Tangeumsuji(彈琴須知), and Taeeumgibeop(太音紀法) recorded in Hangeumsinbo(韓琴新譜, 1724) clearly acknowledge Manbojeonseo as their common source. In this paper, the order and the contents of Geumdorons from four different Manbojeonseo are compared. At first, the comparative analysis of Manbojeonseo (1610) edited by Seo Giryong(徐企龍) and Manbojeonseo(1612) edited by Yu Jamyeong(劉子明) are carried out focusing on the contents of the Geumdoron, where both Manbojeonseos contain considerable amount of Geumdoron sections. The tables of the contents in both Manbojeonseos are composed of upper and lower levels classified into 4 large divisions for each. While the contents of the upper level is presumably older and focused more on the theory of the cardinal virtues, the contents of the lower one is relatively new and centered more on the skills for the real play of a heptachord(琴), the lyrics and the musical scores composed of Gamjabo(減字譜). Therefore, it could be said that the upper level is metaphysical while the lower level is physical. One of the differences between those two Manbojeonseos lies in the order and the terminology found in the large divisions. In the case of Manbojeonseo(1612), some terms in the large division represent and theoretically group the detailed descriptions in the small divisions such as 5 demands or 7 taboos in the play of the heptachord. In addition, a few lower divisions were newly added or revised in order to enhance the completeness of Geumhangmun(琴學門, study of a heptachord), and the detailed classification was revised and polished to improve the reasonableness. In Manbojeonseo(1614) composed by the same editor as Manbojeonseo(1610), the contents of the Geumdoron become much briefer than those of Manbojeonseo(1610) and Manbojeonseo(1612). In the case of Manbojeonseo(1739), a new type of the Geumdoron is included called Oeumjeongjobo(五音正操譜) while carrying a similarly brief section of the Geumdoron. Finally, the Geumdorons in Manbojeonseo and several old scores are comparatively analyzed. While the Geumbo(琴譜) owned by Gugagwon(國樂院) and Hangeumsinbo contains relatively old Geumdoron, Yuyeji(遊藝志) and Bangsanhanssigeumbo(芳山韓氏琴譜) adopt practical and relatively new Geumdorons different from the former old scores and similar to Manbojeonseo(1739) considering the order and the contents. In particular, the contents of the Geumdoron in Geumheonakbo(琴軒樂譜) is notably unique containing much of the upper and the lower levels of Manbojeonseo(1612), therefore thought to have actively adopted the contents of new Geumdorons.

• (The) Research of the performance art and culture
• /
• no.36
• /
• pp.751-781
• /
• 2018

Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.

• (The) Research of the performance art and culture
• /
• no.42
• /
• pp.107-146
• /
• 2021

This article examined the current status of performance activities in the theaters in Ulsan during the Japanese colonial period, and examined the characteristics and social roles of performance culture at that time.,The cultural space during the Japanese colonial period can be divided into theater space and semi-theater space.,The theater spaces in Ulsan include Daejeonggwan, Sangbanggwan, and Ulsan Theater. The semi-theater spaces include Ulsan Youth Center, Ulsan Youth Alliance Hall, Barrack Youth Hall, Eonyang Youth Alliance Hall, Eonyang Christian Hall, Eonyang Christian Hall, Eonyang Inn, Eonyang Public Inn, Eonyang Public Normal School, Seosaeng School, Ulsan Public Aid Auditorium, Night school.,These spaces not only held events or performances for a specific purpose, but also played a role as public spaces producing local discourse. The theater was a complex cultural space where performances are performed along with movie performances, and artists and audiences meet.,Furthermore, the theater provided a special experience of producing and consuming various issues such as colonial modernization, modern city formation, and the emergence of new popular culture beyond the meaning of stage space.,The theaters in Ulsan also functioned as a space to represent the foreign culture acceptance, leisure activities, the performance and viewing of cultural contents, and the artistic skills of local artists in accordance with the purpose of establishing local theaters.,It was a base space for local discourse production and enjoyment activities by holding political rallies, meetings, lecture activities, and various conferences.,Political rallies were also concerts, enlightenment activities were also accompanied by film screenings, and music performances were associated with dance performances and charity gatherings.,In particular, Ulsan Theater, which is the first theater in Ulsan, and the role of the public hall, held a lecture, debate, and oratory for public enlightenment along with performances such as musical drama, children's song contest, fairy tale contest, small-sized play performance,, It was widely used as a large-scale rallying place, and served as a public hall, such as a place to visit outside theaters. Thus, the theater and semi-theater space in Ulsan during the Japanese colonial period improved the cultural level of the region, fulfilling the aesthetic needs of the local people and faithfully fulfilling the social role as a public sphere leading the public opinion and agenda.,And it was also positioned as an alternative public area of ​​modern society and also played a role as a public institution.

• (The) Research of the performance art and culture
• /
• no.20
• /
• pp.5-30
• /
• 2010

It has been diversified and serious attempt to establish the identity of Changgeuk, but it is still independent dramaturgy or the current unformed progressive art. In this situation, exploring works of the identity of changgeuk that is base on the performed individual and specific works in the title of Changgeuk is needed. The 80s and 90s Heo, Gyu was leading an active life as a director who was responsible for directing of Changgeuk. He dramatized Siljeon Pansori -which is a group of Pansori missing text- as well as 5-remained Songs in Pansori and he presented a number of creative Changgeuk works on stage. Especially, the completion of dramatizing 5-remained Songs in Pansori under the name of 'Wanpan Changgeuk -which means full version performance without omit-' is the one of his big achievement by performing "Heungbojeon" on the stage 1982 and "Jeokbyeokga" 1985. The purposes of this research are confirmation of Heo's direction of the formulation and considering its characteristics & significance through 'Wanpan Changgeuk' which written by Heo. Heo was a practical play who was interested in the subjective formulation of national culture and creative transmission for Korean traditional performance. He tried to formulate Changgeuk to a representative performance of Korea. In the process he pointed out those problems, (1) interpretation of a work problem, (2) actor's creative problems, (3) structure problem of theater for Changgeuk. He indicated that the other challenges are to use of the stage & device, to overcome sentimentalism, to stylize acting, to improve own quality, to control the speed and length of the song, to choose the suitable musical accompaniment, to create new repertories problems, and etc. Changgeuk is classified in 3 group by origin, (1)dramatizing of 5-remained Songs, (2)dramatizing of 7-missing Songs, (3)creative dramatizing. It contains all of 3 types that Heo's work. The dramatizing of remained 5 Songs are the great importance among those works. Heo hoped that Chaggeuk has become the most representative art work of Korea by performing 'Wanpan Changgeuk' compiled heritage of Korea's outstanding artistic achievement. The characteristics of 'Wanpan Changgeuk' can be summarized following four. (1) Directing attitudes that emphasizes tradition, (2) Accepting the elements of traditional performance actively, (3) Valuing the classy and ethic, (4) Emphasizing humor and active utilizing of the secondary characters. Heo's 'Wanpan Changgeuk' shows a peak of the artistic level which Changgeuk can be reached. He want to make Changgeuk a Korean representative artistic performance by compiling Pansori heritage and accommodating Korean traditional performance. Heo continued his effort to present Pansori's authenticity and to dramatize from beginning to end without missing. It shows very well that 'Wanpan Changgeuk' takes 4~5 hours for playing. It looks Heo's achievement in the 'Wanpan Changgeuk' influenced Changgeuk significantly since then. Heo's 'Wanpan Changgeuk' is matrix of 'Wanpan JangMak Changgeuk' attempted in the 1990s. Especially, their intent is consistent to synthesize texts and to show all the virtue of Pansori. But 90's 'Wanpan JangMak Changgeuk' aim for large stage, fancy device & costume and variety contents compared with 'Wanpan Changgeuk'. Recently, producers have tried not to make a impressive Changgeuk but to make a interesting one. They usually organize performance within 2 hours and prefer orchestral music to its unique sound. In those point of view, it seems that Heo's idle in 'Wanpan Changgeuk' has become one of target to conquer in these days.

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