• Journal of Korean Classical Literature and Education
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• no.32
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• pp.29-61
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• 2016

A joke (才談, 재담) is "the most interesting and witty language unit" in our speech. However, the search of a joke is still starting. Although joke are related to the witty and interesting talks, stories, songs and plays, the actual object of a joke is only the witty and interesting talk. A joke is witty talk that is interesting or laughter-inducing. Many Jokes can be found in the traditional Korean funny performing arts (演戱, 연희). This is because these art forms are performed in open yards, which necessitated amusing the audience, amusement, in its turn, required jokes. Jokes in the traditional funny performing arts can generally be classified as follows: 1) Jokes related to a situation: These include right words at a given situation, exaggerating words, diminishing words, deviancy words, and cause-effect words. 2) Jokes related to discourse: These include enumerating words, amplificatory words, contrasting words, fluently lying words, undeniable words, purposely unknowing words, and deliberately incorrect words. 3) Jokes related to vocabulary: These include synonym, similar words, changed word-ordering words, and incorrect words. 4) Jokes related to pronunciation: These include homonyms, and anti-homonyms. Although there may be other jokes, those presented above are typical ones. A joke is "the result that human being can achieve when he/she has overcome natural and social difficulties and is left with only a free and creative spirit." Jokes are necessary in all ages and everywhere. Today, more varied and high-level jokes can be created by developing the diversity of jokes in traditional funny performing arts. Also, I expect new sorts of jokes, because a joke always demands a creative spirit.

• Journal of Korean Classical Literature and Education
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• no.34
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• pp.223-257
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• 2017

For a long time, it has been claimed that there is no tradition of tragedy in Asian Literature. This is because researchers have regarded Ancient Greek tragedy, which is an imitation of an action and has dramatic structure, as the only parameter of tragedy. The purpose of this paper is to examine the features of Korean tragedy in order to revise the parameters of tragedy. In chapter 2, by examining the generic features of 'drama' and 'lyric poetry', we obtained following hypothesis consisting of two elements: First, we can classify as lyric poetry that which has the dramatic device of the separation between the suffering character and the observer as a tragedy. Second, since in lyric poetry the character observed by the poetic self is eventually the alter ego of the poetic self, the observer in lyric poetry can only have pity towards the character. In Chapter 3, we examine lyric songs created from the third to fourth century B.C. to more modern lyric poetry to analyze the features of Korean lyric tragedy. They all depict a state of deadlock where the poetic self cannot move forward, and they are all structured in a similar way. In this common structure, the poetic self plays two roles: a character who is deadlocked and an observer who feels pity toward the character. By examining these features of Korean lyric tragedy, we suggest a new parameter of tragedy. Korean lyric tragedy can also provide a new perspective on modern tragedy that conflicts with traditional theories of tragedy.

• Sijohaknonchong
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• v.24
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• pp.139-171
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• 2006

'Geumokchongbu' that is Gajib(a book of songs) is composed only the works of An Minyoung. Ahn Minyoung was not only an editor of Gajib and also Musician that is a kind of singer, Because of his works, he is the one who should be studied for the history of literature of Sijo in the latter period of Chosun, especially in 19th century. Through the studies on 'Geumokchongbu' that is the Gajib edited by Ahn Minyoung. his excellent musical talent could be confirmed. 'Geumokchongbu' which is another Gajib in compared to 'Gagokwonryu' was produced under his careful musical consideration. The tunes shown on Gajib reflected the situation of Gagok just as it was sung and played in that period. Generally, the system of Gajib which was edited in that period Including 'Geumokchongbu' was continued on nowaday's tradition of singing and playing the Gagok. Nevertheless lots of studied results about Ahn Minyoung, the editor of Gajib. was reported. his personal aspect still was not explained for many detailed part. The introduction o( the background of works and various explanation was recorded for each work in 'Geumokchongbu'. The written year of works was found in the introductions. and some of Ahn Minyoung's life could be traced through the chronicle. It could be confirmed for his broad knowledge about music and detailed reality of active correspondences with many loyal family including Daewongun, Lee Haeung and artists in that period. The existence of a type of singing and playing which takes any part of specific tunes shown on Gajib was confirmed. For example, Hachuksi, a blessing poem, dedicated for Daewongun or loyal family was created for supposing singing and playing thoroughly. Accordingly, Hachuksi dedicated to specific persons might be sung and played at the same place, and in the same bundle. Through the study, the way of singing and playing the Gagok was much various, and the variety was confirmed concretely.

• Korean Journal of Heritage: History & Science
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• v.41 no.2
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• pp.27-41
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• 2008

This article aims to develop various cultural contents from Sam-guk Sokakgasa(korean folksongs in ancient times) through analyzing features of it with narrative structures and discourse forms of Seymour Chatman. Rhythms and rhymes of the Sam-guk Sokakgasa hardly exist, only brief stories about the origins of songs are present. However, with interactions of current cultual contents, a brandnew cultural content can be developed from Sam-guk Sokakgasa through creative modification. In this view, narrative structures of Sam-guk Sokakgasa was analyzed using Seymour Chatman's method. Through this analysis, it can be concluded that Sam-guk Sokakgasa has complete narrative structures, thus can be developed into new cultural contents by media interaction. And it can be also said that in cases which Sam-guk Sokakgasa has weak narrative structure, if its narrative structure has enough universality, it also can be developed as cultural contents.

• Korean Journal of Heritage: History & Science
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• v.37
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• pp.169-211
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• 2004

As for the "Guang-Xi(廣西)", "Dong-Shan(東山)", "Yao-Ju(瑤族)", folklore culture to achieve the substratum (New Year manners and customs, a passage rites, folk belief, dwelling folklore, agriculture and a farming machine) generally very received an influence of "Han-zu(漢族)" for the reason that an interchange was active early with "Han-zu(漢族)". However, a traditional form of "Yao-Ju(瑤族)" is covered the base with. Even if it is a national holiday commemorateing the birth of the "Pan-Gu(盤古)" which is ancestors of all "Yao-zu(瑤族)" during New Year manners and customs, songs as "ku-jia(哭嫁)" consisting at the time of marriage during a lot of ritual, "zhaoxu-hun (招婿婚)" and the "liangtou-che(兩頭扯)" marriages which are a classic marriage of "Yao-zu(瑤族)", a ritual format, master "Shi-Gong(師公)" of faith of "Yao-zu(瑤族)" are. Also, a difference is in dwelling folklore related to construction or this very much in "Han-zu(漢族)" and the various sides. It is the part where toilets to use are quite different from the Korean race in a tool, the outside written with the dwelling formal characteristics that are structure, "the ceremony of putting up the ridge beam" in, for example, two folds. Agriculture and a farming machine are basically similar to it of the Korean race, but it is a degree with some transformation by environment and the local cause.

• KIPS Transactions on Software and Data Engineering
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• v.10 no.5
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• pp.195-200
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• 2021

Due to the development of video sharing platforms, the amount of video uploads is exploding. Such videos often include various types of music, among which cover songs are included. In order to protect the copyright of music, an algorithm to find the original song of the cover song is essential. However, it is not easy to find the original song because the cover song is a modification of the composition, speed and overall structure of the original song. So far, there is no known effective algorithm for searching the original song of the cover song. In this paper, we propose an algorithm for searching the original song of the cover song using the inflection points of the melody line. Inflection points represent the characteristic points of change in the melody sequence. The proposed algorithm compares the original song and the cover song using the sequence of inflection points for the representative phrase of the original song. Since the characteristics of the representative phrase are used, even if the cover song is a song made by modifying the overall composition of the song, the algorithm's search performance is excellent. Also, since the proposed algorithm uses only the features of the inflection point sequence, the memory usage is very low. The efficiency of the algorithm was verified through performance evaluation.

• Journal of Convergence for Information Technology
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• v.11 no.4
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• pp.220-229
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• 2021

This study aimed to evaluate the effect of music therapy on depression and rehabilitation-motivation provided to stroke patients, thus achieving evidence-based music therapy as a nursing intervention method for patients. Thirty-three people who were hospitalized for stroke diagnosis at K-Hospital were required to listen to 10 pre-selected songs for three days before bedtime. According to the general characteristics, the proportion of male participants (25, 75.8%) was higher than female (8, 24.2%), and by age group, 6(18.2%) were in 40s, 19(57.6%) were in 50s and 8(24.2%) were aged 60 or older. The study data were analyzed using Wilcoxon-signed rank test. As a result, music therapy does not affect depression and rehabilitation-motivation. However, it was shown to be effective in reducing depression in MMSE group 1 (≤ 29) with low cognitive levels. It is expected that this study can be used as an evidence for music therapy which can be applied as a way to increase the effectiveness of nursing intervention.

• (The)Study of the Eastern Classic
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• no.43
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• pp.183-207
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• 2011

This study finds aesthetic elements and examines their aesthetic sense focusing on the melody of the piri in the completed Jongmyojeryeak with various ideational backgrounds from the views different from the aesthetic sense of Jongmyojeryeak that has been conducted so far. Jongmyojeryeak is to hold a memorial service at the place where the godship of the line of kings and queens in Joseon is set. It is the crystal of Confucian memorial ritual and representative cultural heritage of ancestral ritual culture and is designated as No 1 of national chief, intangible cultural heritage in 1964. Also, on May 18th, 2001, it was registered first in Korea as 'Masterpieces of the Oral and Intangible Heritage of Humanity' designated by UNESCO and was recognized of its superiority. It is not only a representative cultural heritage of ancestral ritual culture having fate with Joseon Dynasty for a long period but also has been recognized as the essence of our music compiling the holistic beauty of artistic forms according to music, songs, and dance created by our ancestors. Also, it has as its background the traditional thoughts including the Confucian thought as well as Yeak thought, Yin-Yang School, Samjae thought (三才思想), and Palgoe thought (八卦思想). This Jongmyojeryeak internalizes landscape beauty, Yojang beauty, natural beauty, magnificent beauty, and harmonious beauty. Landscape beauty can be found in Huimun and Jeonpyehuimun. Yojang beauty is the figure that is only shown in Jeongdaeup. Natural beauty is the skilled performance technique shown in the melody of variations and is connected to natural creation. It is well shown in Huimun and Jeonpyehuimun. Magnificent beauty is well shown in the melody of Botaepyeong movement. And harmonious beauty is the harmonization of dischord in Jongmyojeryeak and is well shown in Jeongdaeup's Somu distinctively showing its aesthetic sense from the view of natural, harmonious beauty in its music.

• (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.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.283-294
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• 2022

In this era of globalization, people's knowledge and cultural aesthetics are strongly influenced by the cultures of different countries, and diversified art forms have broken the traditional art framework, so how to stick to the essence of the country's traditional culture and make it inherited has became an important issue that cannot be ignored in the development of music today. Tan Dun, as one of the representative figures of Chinese contemporary music, has brought important inspirations to the development of Chinese music. With bold and free conceptions, innovative personality, unique Chinese tradition and international perspective. With a spirit of breaking down the barriers between tradition and modernity, East and West, and a concept of integrating multiple cultures into one, he has become a unique figure in the world of music. As researchers in composition, not only do we take on the responsibility of passing on Chinese culture, but we also need to explore the future development direction of Chinese music. Therefore, this paper takes Tan Dun's four traditional musical elements of organic music, Buddhist culture, witchcraft beliefs, folk songs and opera in his works and examines how Tan Dun perfectly blends traditional Chinese music culture with contemporary music language. And explore how the domestic traditional culture co-exists with modernity in today's diverse world.