• The Journal of the Acoustical Society of Korea
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• v.24 no.8
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• pp.469-480
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• 2005

There have been always some difficulties in target setting and conditioning of acoustic performances or the Korean traditional music hall due mainly to the lack of the information on the sound radiation characteristics of Korean musical sources. As the 2nd experiment succeeding the previous study[1], the radiation characteristics of eight typical Korean traditional musical sources were investigated if precision. The selected musical sources were Geomungo, Haegeum (string), Piri, Taepyeongso (woodwind), Buk, Kwaengguari, Jing (drum), and male Pansori Chang (vocal Performance). The results show that the directivity pattern of each instrument is different and has their own directivity characteristics. Measured directional and spectral characteristics of traditional Korean music sources were implemented into the computation of architectural acoustic measures. Significant differences in the acoustic measures at receiver positions were observed between the results in using the omni-directional source and the directional one. In order to investigate the acoustical characteristics of the instruments depending on the spatial variation four different shapes of halls were introduced including rectangular, fan. horse-shoe and geometrical shapes. Room acoustical parameters such as RT, SPL, C80, LF, STI were calculated at each type or hall. As the results, It was found that the rectangular hall has the most high clarity. lateral energy and STI values among low shapes of halls. It is thought that the suggested source data and design method can be used as a basic reference in the future acoustic design of performance halls for the Korean traditional music.

• Cross-Cultural Studies
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• v.38
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• pp.145-190
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• 2015

The objective of this paper is to investigate translated individual words in J. S. Gale's "Choon Yang" in comparison with its original OkJoongHwa("獄中花") while referring to early modern bilingual dictionaries and missionaries' ethnography. Gale faced a lot of translation difficulties because the source text had a very different cultural system from the object text. OkJoongHwa was a Korean pansori novel which meant it included many Korean characteristics. However, Gale considered its Korean characteristics were deeply connected with Chinese classics. Even famous people and place names cited from the Chinese classics in OkJoongHwa represented the Korean thinking. Gale tried to faithfully translate the source text as much as possible whether the words were Chinese or Korean. In this paper, we deal with mostly various translation aspects of the Chinese-letter words in OkJoongHwa. Gale's first method to translate words made of Chinese Character is transliteration, the examples of which are the name of Chinese famous people and places, and Chinese poems. The second method is to parallel transliteration and English interpretation equivalent to the Chinese Character. The examples are the names of main characters like "Spring Fragrance or Choonyang," "Mongyong, or Dream-Dragon" and in his translation of word play in Osa (Commissioner), or Kamsa (Governor), kaiksa (a dead beggar). The third is literal translation of Chinese idiomatic phrases as Gale translated 侵魚落雁 into "She'd make the fishes to sink and the wild-geese to drop from the sky." The fourth is a little free translation of the title of public office, the various names of Korean yamen servants and the unique Korean clothing and ornaments. We expect Gale's many translation difficulties as we can see the translated long list of yamen clerks and Korean clothing and ornaments. After our investigation of his translation practices in "Choon Yang" we conclude that he tried to translate its literary language very faithfully though he could not avoid inevitable loss caused by the cultural difference involved in two languages. Gale's "Choon Yang" contributed to introducing the uniqueness of the classical Korean novel and Korean culture to the world more than any other English translation works of that time through his faithful translation.

• Journal of Korean Classical Literature and Education
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• no.33
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• pp.185-210
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• 2016

This thesis explores how JobGeuk ShimChungWangWhoJeon and the Devoted daughter ShimChungJeon scenario have transformed ShimChungJeon, a notable work of Pansori literature, dramatically for modern times. By analyzing the adapter's consciousness and changing direction in these two works, it was found that ShimChungJeon was tailored to audiences in the 1900s. JobGeuk and the scenario are attempts to transform ShimChungJeon to meet cultural needs in the 21st century and to make the works appealing to the public. The aspects of the transformation of JobGeuk ShimChungWangWhoJeon are 1) reinforcement of logical causality, 2) weakening the humor and simultaneously emphasizing the work's surreal nature, and 3) dramatic expression by song. The aspects of the change in direction of the Devoted daughter ShimChungJeon scenario are 1)the insertion of a new narrative, 2)trying to evoke both humor and tragic sadness, 3)seeking newness with the reassignment of time and events. JobGeuk ShimChungWangWhoJeon is the first example of the transformation of ShimChungJeon's dramatic style and Devoted daughter ShimChungJeon is the first transformation of its scenario. These two works show how ShimChungJeon can be adapted to modern times and new cultures, and how ShimChungJeon can be made relevant and be enjoyed by the public regardless of the era.

• Journal of Korean Classical Literature and Education
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• no.38
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• pp.103-138
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• 2018

This study examines the modern succession, transformation and significance of enjoyment methods of classical literature (art) with a focus on the characteristics of those methods that appeared when the performances of the traditional era began to be displayed on the stage of the theaters in modern Seoul. The clues to the reasons for this type of enjoyment can be found in newspapers, magazine articles, and advertisements from the early 20th century. The emergence of stage theaters at the beginning of the modern era caused a sweeping change in the performance environment, including the fact that it was possible for all kinds of people to enjoy art beyond the existing socioeconomic hierarchies or barriers of status, that the performers were given employment through the theater, and that the audience had the tendency of the general public of an unspecified number because the audience was able to see the performances only by paying the viewing fee. The way of enjoying traditional performances also changed based on these new adaptations: the performances were sequential, show-oriented, and re-contextualized as public performances. It is significant that in the traditional era, performers and audiences had been segregated according to their status and a strict hierarchy; now, such cultural norms were breaking down in favor of a kind of equality. In addition, it was possible for the audience to experience sensory enjoyment, and theater brought about a new kind of popular consumer enjoyment of an artistic product. Of course, though, it is possible to look back and find problems related to the contemporary context, but the traditional performances, which were the main performances for the lower class, took the first place on the modern theater stage, and as a result, no one can deny that it became possible to move forward in the first phase of an era of public performance.

• Cross-Cultural Studies
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• v.48
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• pp.1-30
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• 2017

The purpose of this study is to review two books on the history of Korean literature written in Japanese, taking special interest in ancient Korean literature, examining transcultural patterns between the history of North and South Korean literature and that of Japanese literature, and thereby identifying perceptions and description patterns of the history of Korean literature from the perspective of comparative literature. This study analyzes two books with the same title The History of Joseon Literature written in Japanese by Kim Dongwook and Byeon Jaesoo. The two books are not translations of Korean books but were written in Japanese for Japanese and ethnic Korean readers in Japan. The History of Joseon Literature (1974) by Kim Dongwook mainly compares Joseon literature with Japanese literature. The History of Joseon Literature (1985) by Byeon Jaesoo, an ethnic North Korean in Japan, was written from socialistic perspectives. The two books have different standards for evaluating value of the history of Joseon literature and different perceptions about it. Due to the division between North and South Korea, the history of literature is unfolding in different ways in the two Koreas, and the two books reflect such differences. However, they have several common features. For example, they highly regard the value of literature written in Chinese characters and originality of hangga (a folk song of Silla), Hangeul (the Korean alphabet), and pansori (a form of Korean folk music in which a singer accompanied by a supportive drummer sings and chants an epic story). In addition, they both demonstrated that literature written in Hangeul and that written in Chinese characters interacted with each other as the same Korean literature. When the two books were written, the history of Korean literature had been considered a subunit of the history of East Asian or Chinese literature. However, as this study found, Kim and Byeon wrote the two books from a perspective of departing from this view based on nationalism, re-establishing the value of Korean literature, promoting Japanese people's understanding of the high quality of Korean literature, and imbuing ethnic Koreans in Japan with nationalistic pride.

• (The) Research of the performance art and culture
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• no.20
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• pp.63-94
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• 2010

Research on Gong Ok-jin's choreography and its artistic value is still insufficient in the academia of Korea. Her life cannot be said even or smooth - she was born into an artist family with abundant innate talent and sensitivity, feeling joy and sorrow as a gypsy artist begging for food, facing and overcoming the crisis of her trademark deformed dance during the period when she played the solo performance of Changmugeuk, making a transition to the animal dance and finally to the sick dance getting her health back from the long struggle against disease. Her life, however, has always been an artistic expression and we can know that art has been the consolation and driving force of her life. In the Korean artistic tradition that integrates music, singing and dancing, it is beyond doubt that the third has been rather secondary compared with the first two. In the Changmugeuk, however, Gong Ok-jin focuses on each movement of hers, commensurate with the humorous witticism and the traditional opera of pansori. What is her message in such painstaking movements? She puts gestures ahead of words and continues them, reminding her audience of the meaning of dance and driving it into them. Especially, her deformed dance, unprecedented in choreographic history, is hard to understand if you do not sympathize with Koreans' innermost emotions. If you are to understand it, you should first feel what emotions are in Koreans' mentality to be expressed in the form of choreographic elements and what artistic values they carry. This study, in this context, is to reflect upon the original choreographic form of her Changmugeuk solo and to overview Korean dance's unique emotional values with regard to the way Korean choreographic subject matters and traditions are passed down.

• (The) Research of the performance art and culture
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• no.34
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• pp.73-109
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• 2017

This article studies Hur Gyu's Wanpan-Changgeuk Heungbojeon (1982) and Heungboga (1984), with a specific focus on the dramaturgy of Changgeuk and its meaning as transformed from Pansori Heungboga. The dramaturgy of Wanpan-Changgeuk Heungbojeon and Heungboga served to express criticism toward selling oneself. Beyond their former classical theme of brotherly affection, these productions elicited sorrow at the sight of poverty through a dramaturgy integrating modern theatricality with the Korean dramatic style. The theme of grief for poverty in these Changgeuk plays simultaneously aroused spectators' sympathy and critical thinking about economic aspects. Moreover, the Korean drama style and humor were not used simply as a tool but to exhilarate an emotional response to a life of coexistence. This paper found that Hur Gyu's Wanpan-Changgeuk Heungbojeon and Heungboga recreated a new Changgeuk dramaturgy based on the director's integration of western thinking and Korean traditional culture on stage. Through this, Hur Gyu tried to expand spectators' sympathy and to achieve artistic and popular success. Thus, these value of Hur Gyu's Wanpan-Changgeuk lay not only in its long running-time, but in its dramaturgy of integrating thinking for his Minjokgeuk (nationalist theater).

• (The)Study of the Eastern Classic
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• no.34
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• pp.387-414
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• 2009

This paper seeks to provide an overview on the newly-discovered manuscript in gasa style. It is significant in that the entire in gasa style has not been seen before, although occasionally scripts incorporate sijo or gasa as inserted songs. The author of this manuscript is believed to be Bae Hyung (裵珩: ?-?), who lived in Daegachon, Yongdu-Myun, Sunchon-Gun in Jeonra-Namdo Province. It is estimated that the manuscript was written in April of King Gojong 37 years (year 1900). This , so-called the Yang Jee-Uk Collection Script, applies Samdan Pyunun Daewoo Method (三段片言對偶法), using Jongbae style (縱排法) to over 27 pagesof the book. The author seems to have collected the main scenes of and changed them into gasa style. It is also possible to postulate that the author might have simply divided the lines to make it resemble the existing gasa style, as the original was already in the form of lyrics. There are a few mistakes found in the manuscript. They seem to have been made while the author was recording the sung P'ansori, rather than while copying from a different manuscript.

• Korean Association of Arts Management
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• no.54
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• pp.95-132
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• 2020

Many Korean traditional music such as Jongmyo Jeryeak and Pansori are listed as UNESCO World Intangible Cultural Heritage and are recognized for their value. However, compared to other genres, Korean traditional music shows various problems such as low proportion of paying audiences and bias of audience age. Previous studies in the performing arts point out that in order to solve these problems, it is necessary to analyze consumers. Existing previous studies on the Korean traditional music performance remained mainly to grasp the influence of performance quality of service on viewing satisfaction at the one-dimensional level. However, in order to meet consumer expectations, not only the satisfaction factor but also the reasons why performing art consumers do not consume performances. In addition, it is important to identify the factors that can cause service failure before the performance, to prepare countermeasures and to manage them continuously. In this study, the Kano-Timko model was used to classify the quality factors of Korean traditional music performances, and to identify the priority points of service failures of Korean traditional music performances through the potential customer satisfaction index. Through the results of this study, Korean traditional performing organizations and organizations will be able to prepare proactive countermeasures for service failures occurring in Korean traditional music performances and establish effective operational strategies to derive customer satisfaction. In addition, it is important to apply the concept of service failure in order to classify the performance quality of service that was identified only in a one-dimensional manner based on Kano model.

• (The) Research of the performance art and culture
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• no.22
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• pp.413-439
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• 2011

This study aims to look for the proper directions of following and developing Gyeonggi sinawi dance in the fashion of Kim Sukja by closely examining its kinds and patterns. First, its characteristics and education reality were investigated. Second, the seven kinds of Gyeonggi sinawi dance Kim Sukja allegedly handed down (according to the 121st Report of the Intangible Cultural Assets) were concretely examined. Third, the composition of each dance pattern was studied. Fourth, various beats used in Gyeonggi sinawi dance were revealed. The late Kim Sukja had outstanding artistic talent and ability in Gyeonggi sinawi dance movements, musical composition, gayageum accompanied singing, and pansori episodes. Behind her were master singer Kim Seokchang (grandfather), father Kim Deoksun (belonging to Hwaseong Artist Board), shaman-mother Jeong Gwiseong, and great dancer Jo Jinyeong. Kim sukja's seven Gyeonggi sinawi dance types were bujeong nori, teo beollim, jinsoe, jeseok, kkaekkeum, ollimchae, and dosal puri (designated as Important Intangible Cultural Asset in 1990). Such beats as seopchae (dosal puri), mori, bal ppeodeurae, bujeong nori, ollimchae, jinsoe, and teo beollim (ban seoreum) were mainly used in Gyeonggi sinawi dance. In sum, Kim Sukja's dance was more than an individual's dance to represent the cultural types and life at that time in Gyeonggi-do and be a very important academic historic material. Therefore, it is the responsibility of the present generation to hand down and develop such invaluable traditional cultural materials.