• Journal of the Korean Wood Science and Technology
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• v.33 no.4 s.132
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• pp.15-22
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• 2005

The acoustic properties of various coatings for stringed musical instruments made were investigated. The applied coatings were urethane topcoat, oil stain, natural varnish, cashew and UV-curable epoxy coating. Acoustic properties of coatings inferred from a resonance frequency and a damping measured by FFT analyzer and tan ${\delta}$ measured by DMTA. Acoustic properties from resonance frequency and damping were analyzed. Optimum coating for stringed instruments was determined by viscoelastic properties and acoustic properties of coating.

• Journal of the Korean Wood Science and Technology
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• v.34 no.1
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• pp.32-39
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• 2006

The acoustic properties of various coatings for stringed musical instruments made were investigated. The applied coatings were urethane topcoat, oil stain and UV-curable epoxy coating. Acoustic properties of coatings inferred from the elastic modulus and the shear modulus that ware calculated from a resonance frequency and a damping measured by FFT analyzer. The relationship between elastic modulus and density and the relationship between elastic modulus and shear modulus of coatings for stringed musical instruments ware investigated as a function of coating thickness.

• Journal of Sericultural and Entomological Science
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• v.46 no.1
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• pp.32-37
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• 2004

Gayageum and Geomungo are the traditional stringed music instrument in Korea. These strings are usually made of raw silk. This study was carried out to investigate the optimum condition for silk string producing method using several kind of silk and setting temperature of silk string. If the ply of strings and twisting condition were same, tenacity and elongation of every silk strings were similar, in spite of silk strings prepared by physically different raw silk. On the other hand, in setting treatment of twisted string, it was disclosed that the proper setting temperature of silk strings were 11$0^{\circ}C$ for 20 min.

• (The)Study of the Eastern Classic
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• no.59
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• pp.405-428
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• 2015

Painting theorists in Song dynasty often spoke 'Li' when they talked about paintings. But 'Li' of the song dynasty is not limited to the 'ethics'. First, it includes visible 'natural's truth', such as the differences of 'geography' and 'physics' between the depicted objects. Second, it also includes 'common sense' which was based on both the observation and the thinking. The theorists thought if the 'common sense' was improper in the painting, the whole work was invalid. Thirdly, it also includes 'the reasonable sense in special situation', which requires great imagination ability and elaborative faculty. For example, when playing wind instruments and stringed instruments in the same time at the same concert, the painter should accurately draw the different gestures of musicians according to that the wind instrument is 'sound when the finger lift' and the stringed instrument is 'sound after the finger have left' in that moment. Fourthly, it includes 'art reason', theorists call it as 'ShenLi' or 'MiaoLi'. 'ShenLi' or 'MiaoLi' require the creator to join the spiritual concept besides his observation and thinking. For example, 'banana in snow' is neither observed available nor thought of available, but is the result of spiritual concept of creators for seeking everlasting. And at last, it certainly includes 'the principle of ethics'. Painters often highlighted the ethical relations of the feudal nation and the value of individual gentleman through the allegory story of figure painting and even the sudden composition in the landscape painting. 'Geography', 'physical', and 'common sense' are required the meticulous observation and the rational thinking for the painted object. And 'the reasonable sense in special situation', 'the art reason', 'the principle of ethics' are required enhancing painting style in the painting artistic conception and realm of life based on the nuanced observation, making 'technology' into the 'Tao'. This is the six reasonable increasing requirements for the painting work. Therefore, 'seeking the final reason' is the fundamental spirit of painting theory of Song Dynasty.

• (The) Research of the performance art and culture
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• no.32
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• pp.701-738
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• 2016

The Geomungo(거문고) is a instrument of Gogureoy(高句麗). The instrument had covered a lot of Korea, so it have become a important musical instrument in Korea. Hayasi Genjo(林謙三), Japanese scholar, had maintained his opinion that the Geomungo of Gogureoy is the Wagonghu(臥??), and the Geomungo was formed later, the record of Kimbusik, wrighter of the History of Three Kingdom(三國史記), was incredible. Lee-Hyegu refuted his hypothesis because the introduction on the Wagonghu of Japan have been inaccurate. Since then, many scholars of Korea have studed on the Geomungo of Gogureoy. But their study of the Geomungo was inclined to the topic, relation of the Geomungo and the Wagonghu, or the Wagonghu, the origin of the Geomungo. And They have thought that the record of Kimbusik's was truth. Kimbusik had recorded that Wangsanak(王山岳) had made the Geomungo from the Chilheoyn-Geum(七絃琴, Seven stringed Zither. 古琴). But the Geomungo was different from Geum(琴), but similar to Wagonghu. Many ancient tomb have been unearthed in the old land of Gogureoy, and the were many tomb painting of Gogureoy Geomungo. They were many different style, the form, the size, the number of strings and the position of the musician. So I think that many various type of the Geomungo had been exsited in Gogureoy they had become a prestyle of the Geomungo. The Geomungo was originated from the Wagonghu, its form was similar to the Geomungo. The many scholars considered that it is truth, the Wagonghu was handed down from China, and was spreded to Japan. But there were the Wagonghu in the early Joseon(古朝鮮), The song of the early Joseon, Gongmudohaga(公無渡河歌). The song was accompanied by the Wagonghu. We can read off, at the Song, the Wagonghu had exsisted in the early Joseon. So I think cautiously on that point, the Wagonghu of the Early Joseon was old than that of China, and thd Geomungo of Gogureoy was originated from the Wagonghu of the Early Joseon.