• 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.

• Sijohaknonchong
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• v.22
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• pp.85-113
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• 2005

This paper's target is two music books, 100 man's Gagok songs and 88 woman's Gagok songs compiled by Kim Kee-soo. The next is an interpretation on 9 subject classifications. 1. There is a similiarity in subject between $\lceil$kyobonyukdaesijo's collection$\rfloor$ and man's Gagok song. 2. There is a wide difference in man and woman's love subject between man's Gagok songs and woman's Gagok songs. 3. The subject changes as Gagok progreasses. 4. There are many nameless writers in the prograss of Nong$\cdot$Na k$\cdot$Peon. 5. Taepeongga, whose theme is to enjoy pleasure, forms the last beauty. Sijo poem's subjects, which belongs to the noble class, shows the mode of scholar's elegant life at that time.

• Sijohaknonchong
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• v.26
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• pp.125-149
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• 2007

Until the late 19th century, $\ulcorner$Gagogwonryu(歌曲源流)$\lrcorner$ was a collection of songs which had powerful influence on Gagog tradition. However, its role on Gagog(歌曲) tradition since then is less well known. Generally, it is presumed that Gagog tradition might disappeared by giving way to modern song genre. So this article question that $\ulcorner$Gagogwonryu$\lrcorner$ became extinct rapidly between the late 19th century and early 20th century, and follow $\ulcorner$Gagogwonryu$\lrcorner$ tradition of early 20th century. Gagog instruction for beginner had a clue to answer this question. This instruction was written by Ha Son-il(河順一) who was a teacher and singer in a private music institute. named 'ChoyangGurakbu(調陽俱樂部). Accordingly, this article has processed two phases in order to find out this question. First of all, this article analyzed Gagog instruction that Ha soon-il edited. As a result, it found out that Gagog instruction included the whole $\ulcorner$Gagogwonryu$\lrcorner$'s contents in the 19th century and was transmitted actively until the early 20th century. Second, this article found out $\ulcorner$Gagogwonryu$\lrcorner$ tradition of the early 20th century by analyzing character of ChoyangGurakbu. And also this article discovered ChoyangGurakbu had been managed by an vigorous aid association. Gagog instruction for beginner written by Ha Son-il had spreaded from strength to strength in the early 20th century.

• Proceedings of the Korea Water Resources Association Conference
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• 2015.05a
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• pp.450-450
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• 2015

우리나라는 최근 기후변화로 인한 이상기후의 영향으로 태풍 및 국지성 집중호우의 발생빈도가 잦아지고 있으며, 이에 따른 풍수해 피해 양상 또한 과거와 비교되지 않을 만큼 대형화 되고 있다. 본 연구대상지역인 가곡천 유역은 강원도 산지로부터 발원하여 동해안으로 유입되는 산지하천 중 하나로 유로연장이 짧고 경사가 급하여 홍수기시 홍수도달시간이 매우 짧은 특징을 가지고 있어 하류부에서의 피해가 증가하고 있는 실정이다. 실제로 대상하천의 경우 2002년 태풍루사와 2003년 태풍매미 등에 의해 피해가 컸던 것으로 조사되었으며, 이러한 피해를 저감하기 위해서 정확한 유역의 유출해석이 필요하다. 따라서 본 연구에서는 가곡천 유역의 치수대책 수립을 위한 설계홍수량을 산정하기 위해 GIS 수문프로그램인 WMS(Watershed Modeling System)를 이용하여 수문해석에 필요한 수문인자들을 추출하고, WMS에 내장되어 있는 HEC-1 모형을 이용하여 유출해석을 수행하였다. 가곡천 유역에 대한 모형의 적합성 여부를 판별하기 위해 실제측정에 의해서 만들어진 수위-유량관계곡선과의 비교를 통해 모형의 적합성 여부를 검토하였다.

• Sijohaknonchong
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• v.44
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• pp.7-28
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• 2016

Music was made popular through the modern mass media. Nonetheless, if a period of high standard performances and appreciation by a minority of culture connoisseurs can be qualified with the expression "gentrification of culture", then a period when anyone can access culture through the mass media can be qualified with the terms "popularization of culture" and in this period the reorganization of performance culture can only be driven by the public. In fact, the Jabga, which is a type of traditional song that received strong public adhesion by means of phonograph records and radio broadcasts at the time, stands as a typical example to it. Gagok and Sijo up until the 1920s and even the 1930s are believed to engage actively in the changing media environment and the new modes of music enjoyment and transmission. The Album recording of faster rhythm music and the inclusion of the Sijo, Jabga, and folk songs in one broadcast programme can be seen as reflecting such an effort. However, it can only be hard for the Sijo and Gagok to challenge the predominance of the Jabga which made its lyrics more popular and the new songs written in accordance with the new media environment. Until the 1930s in this changing environment of music enjoyment, Gagok and Sijo performers rather sought to distinguish themselves from the existing popular song style by reproducing traditional forms. The album recording and broadcasting of Lee Wangjik Aakbu, the beginnings of local singers, the participation of male performers not only contributed to the diversification the enjoyment culture of songs and sijo, but also made the 'difference in standard' with the popular songs even more salient.

• 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.

• Proceedings of the Korea Water Resources Association Conference
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• 2019.05a
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• pp.260-260
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• 2019

해안과 만나는 하천의 하구부에서는 해수의 흐름에 따른 연안토사의 이동과 유황에 따른 하천상류에서의 토사유입량에 의해 하구부가 빠르게 변화한다. 본 연구대상지인 가곡천은 유로연장이 짧고 경사가 급한 산지하천의 특징을 가지고 있어 집중호우시 토사가 하류로 빠르게 유입되어 일반하천에 비하여 하구부의 지형변화가 크게 일어난다. 가곡천 하구부는 모래사장으로 이루어져 있는 호산해수욕장과 경관적 및 자연적 가치로 인해 보존 필요성이 대두되고 있는 하중도인 솔섬이 위치해 있다. 그러나 현재 솔섬 주변 하구부 인근의 일반산업단지 건설과 고향의 강 조성사업에 따른 하도환경의 변화로 하도를 유하하는 유수의 흐름 및 침퇴적 양상의 변화를 가져와 홍수의 원활한 소통에 지장을 초래하고 있다. 또한 현장조사 및 모니터링 결과 하구 지형변화로 인해 하도안정 유지관리에도 막대한 영향을 끼치는 것으로 확인되었다. 따라서 본 연구에서는 가곡천 하구부의 하도환경 변화에 따른 수리학적 특성 및 하천형태학적인 변화를 분석하여 하도안정을 파괴하는 요인을 규명하기 위한 연구를 수행하였다. 연구방법은 가곡천 하천정비기본계획의 빈도별 홍수량, 기점홍수위를 경계조건으로 2차원 수리해석 모형인 SRH-2D모형을 이용하여 하도환경 변화 전 후의 대상구간에 대해 수리특성 및 하상변동 양상을 모의하였다. 모의결과 하도환경 변화(홍수터 및 징검여울 등의 하천시설물 조성)에 따른 수리특성변동양상과 침 퇴적지점에 대한 변동경향을 확인할 수 있었다. 본 연구의 결과는 동해안 하구부에 위피한 하천의 다양한 변화 해석시 참고자료로 활용할 수 있을 것으로 사료된다.

• Sijohaknonchong
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• v.43
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• pp.5-39
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• 2015

Shijo (Korean poetic form) is a representative literature genre of a short poem among the literary works of Korea in the late Chosen Dynasty. The format of Sijo is Normal-Shijo in the form of 3 verses, 6 sections and 12 sound, and the lyrics of one Normal-Shijo has within or without 45 words. But Saseol-sijo, a type of Sijo, there is a work that has more than 100 letters due to the number of lyrics were a lot increased. Among those Saseol-sijo there is a work with 'solemn and elegant feeling' borrowing some verses even from Chinese poem, using a lot of Chinese vocabulary, but there are a lot of works with 'salacious and explicit contents'. Literary work, Shijo, is used for lyrics of vocal music as Gagok (a genre of Korean vocal music for mixed female and male voices) and Sijochang, however, there are many cases that the same Sijo poem is used as lyrics of Gagok and Shijo. But those music that use Saseol-sijo as lyrics among Gagok, the vocal music, are mainly songs with 'solemn feeling' rather than 'salacious work'. This study looked into the reason why the Saseol-sijo with 'salacious and explicit contents' are hard to be used as lyrics in Gagok, confirming the fact that most music singing Saseol-sijo among Gagok that are being handed down till now use lyrics with 'solemn and elegant feeling'. The most important thing among those reasons seems to be irregularly increasing lyrics, and in accordance with accompaniment. Gagok accompanys a number of instruments the fixed melody recorded and delivered in score. So it's almost impossible to play unless it depends on the steadily made song melody and accompaniment melody according to the chosen lyrics in advanced. Also, appreciation of literary works is usually made privately through a private reading activity, but Gagok is conducted through public performance in an open space for many people. Especially, it would have been hard to sing a salacious and explicit song gathered together with men and women of different social status in social system and custom of the late of Chosen Dynasty. This study confirmed the fact that folksy and popular character that was praised for literary characteristic of Saseol-sijo can't be easily found from Saseol-sijo that was called Gagok.

• Proceedings of the Korea Water Resources Association Conference
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• 2017.05a
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• pp.327-327
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• 2017

최근 지구 온난화에 따른 기후변화로 인한 해수면 상승과 폭풍해일의 강도 및 발생빈도가 증가하고 고파랑 내습, 난개발 등으로 인한 연안 지역의 해안선 변화 및 연안 침식이 크게 문제화되고 있다. 연안 환경의 변화를 분석하는 방법에는 광파측거기를 이용한 해빈 측량, RTK-GPS를 이용한 측정, 항공사진 분석 등이 주된 연구 방법이지만 이러한 연구 방법으로는 미세한 지형 변화의 관찰은 어려움이 많았으며 세밀하고 정량적인 지형분석이 요구 되었다. 본 연구에서는 연구대상지역인 가곡천 하구부를 대상으로 지상 LiDAR를 이용해 장기간 정밀측량을 실시하였다. 자료를 바탕으로 가곡천 하구부의 부피와 면적을 비교분석하였으며, 해안선변화의 정량적 비교분석을 실시하였다.

• Proceedings of the KSLP Conference
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• 1998.11a
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• pp.213-217
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• 1998

한국의 음악을 처음 국악이라고 쓰게 된 것은 1907년부터이다. 이는 국악이 나라의 음악이라는 뜻으로 1907년 조선조 고종 말경에 관직제도를 개혁하면서 궁중아악의 책임 관리자를 "국악사장"이라는 직제를 두면서부터 우리나라의 정통음악을 국악이라고 표기하게 되었다. 원래 우리의 전통음악은 궁중과 사대부를 중심으로 행하여 졌던 정악과 일반서민의 음악이었던 속악으로 나누어졌으며 기타 특수한 종교음악이나 현대에 와서 작곡.된 신국악곡들도 국악의 범주에 속했다. 이러한 국악에서는 가곡, 가사, 시조, 판소리, 민요, 범패(불교음악) 등이 있었는데 여기에서 한국 현대 작곡가에 의해 우리말로 된 작곡이라 하더라도 서양식 작곡법에 따라 작곡된 오페라나 가곡 같은 음악은 전통음악인 국악에 포함시키지 않았기 때문에 오늘날 우리의 음악인 국악과 양악이 구분되고 있다. (중략)