• (The) Research of the performance art and culture
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• no.19
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• pp.221-280
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• 2009

This thesis is a study of the rise and the characteristic of 'Hyangto Gakeuk(literally Song drama of the country or local music drama)' in the Early 1940s. During the colonial period, there were attempts to incorporate traditional Korean music elements with Western operatic form. This type of music drama with librettos based on traditional tales came to be known as 'Hyangto Gakeuk'. Mostly 'Hyangto Gakeuk' has led this effort under the director Seo Hang-Suk, the composer Ahn Ki-Young and the lyricist Seol Eui-sik. In the first chapter, the study aims at arranging the performance history of 'Hyangto Gakeuk' composed by Ahn Ki-Young. Also, the study examined representative works after classifying 'Hyangto Gakeuk' performed by Lamila Music Drama Troupe, and Bando Music Drama Troupe. There is significant meaning to evaluate 'Hyangto Gakeuk' in the history of Korean music drama through this analysis of the performance history. In the second chapter, I will analyze with representative works composed by Ahn Ki-Young, a pioneer in the Korean art song. He tried to create the music that held the nationalism and tradition. His works which were called 'Kageuk' laid down the foundation of Korean original operatic style. This study demonstrated characteristics of 'Hyangto Gakeuk' as 'the beginning' in modern musical drama history and its effects on Korean musical drama developments. Namely, 'Hyangto Gakeuk' based on Korean traditions can be seen as examples of original modern musical in Korea. Practically, study on all the aspects of performance not only text generally studied, dramaturgy and criticism, but also performance concept and intention of creators in early period.

• (The) Research of the performance art and culture
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• no.39
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• pp.69-96
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• 2019

North Korea has conserved operas in a selective manner. The subject matters of operas recorded in the history of North Korea can be divided into classical tales, translated foreign works, Korean War and war against Japan. Operas that adapted folk classics of the 1950s are considered valuable materials to verify the changes of genres posterior to division of regime between North and South Korea. The officially confirmed works include "Kumgangsan Palseonnyeo (Gyeonwoo Jiknyeo)," "Chunhyangjeon." "Kongjwi Patjwi (Kotsin)," "Ondal," and "Geumnaneui Dal." These works had gone through recreation in terms of realistic situation setting, abolition of class difference, adjustment of social rank and punishment of evil while the base lies in the original folk classics. People emphasized in adapted folk operas are described as those who are hard-working souls without giving importance of difference of social rank, content with the currently living space, devoted to their parents and full of patriotic spirit, and members of community who participate in organized fights against unfair exploitation. This was the fruit of encouragement of work creation supporting union between labor and individual life, destruction of old things and fight promoting this destruction. Folk operas of South and North Korea posterior to Korean War have similarities in that both deal with a love story transcending social ranks and the concomitant conflicts and they focus on the audience who enjoy the operas. Nonetheless, they are different in that this love in North Korea became a tool of educating people wished by the regime, while it became an object of securing the audience by adding the tragic element to love in South Korea. North Korean operas of the initial stage are characterized by playwriting method emphasizing difficult life and compensation of common people, realistic stage expression, accentuation of melody and agreement between notes and lyrics. This was efforts designed to continuously lead senses concentrated from the theater to everyday life of people. In effect, this is in line with the playwriting method of revolutionary operas. Adapted folk operas were subject matters ideal for easily approaching the audience and leaving them good memories at the same time. To realize socialist realism, they went through an experiment of reviewing "people" through the classic folk operas. The possibility of continuation of a work was determined by thorough evaluation after carrying out an experiment in terms of subject matters, theme, music and operation plans from the moment of which the work was on the stage. The sign consisted in the possibility of visit of "Kim Il-sung" to appreciate the work and presentation of directionality. By proposing the clear directionality of which hard-working people who deny social status system can be duly compensated, it encouraged the audience who saw the opera to voluntarily put this in practice. Thus, operas established the directionality through selective processes for creating public communion even before revolutionary operas.

• (The) Research of the performance art and culture
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• no.42
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• pp.361-369
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• 2021

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.211-219
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• 2021

Chinese Tibetan Opera is a highly comprehensive drama type, which combines the educational aesthetic characteristics of the realism of Western drama and the freehand of Chinese opera, including mask play, square play, ritual play and religious play. Tibetan opera, as a kind of local drama, has high research value, which is determined by its educational aesthetic characteristics. The world's three major dramas include Sanskrit dramas in India, tragic-comedies in ancient Greece and Chinese dramas, which have different forms of expression and educational aesthetic characteristics. Because of the particularity of its birthplace, Tibetan Opera inherits some of the three forms of the above three dramas. Ancient Greek tragedies originate from the sacrificial ritual of the god of wine. In the early ceremonial action performances, the actors were all men and needed to wear masks to perform. In Tibetan opera, men also play a role in masks, which are originated from the folk totem dance and religious pantomime music and dance. Due to the long history of Indian Sanskrit drama, except for the relevant records in dance theory, the specific performance form can not be verified. However, according to the relevant records in dance theory, the three characters "Wenba", "Jialu" and "Lamu" in the opening play of Tibetan opera are similar to the "concept character play" in Sanskrit opera. Tibetan Opera is a very important part of traditional Chinese opera, which inherits the educational aesthetic characteristics of Chinese opera.

• Journal of the KSME
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• v.19 no.1
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• pp.314-319
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• 1979

우리 국립극장 대음악당의 음향특성을 측정하여, 해석하고 그 정식음향평가를 최초로 시도했다. 여기서 문향악과 가극연주에 대한 평가에 있어서는 특히 공시의 음향특성 Data로부터 만석시의 음향특성을 세심하게 연역해 냈다. 결과는 주로 생동감의 심핵한 결지으로 말미암아 그대로는 낭만파음악과 전형교향악은 물론이고 고전음악까지도 연구가 매우 곤란하고, Baroque 음악만이 겨우 연주가 가능할 따름이다. 가극에 대해서도 Wagnerian Opera 는 힘들고, Italian Opera 만이 어느 정도 만족스럽게 연주가 가능하다는 것을 알아냈다. 끝으로 이 음악당의 음향특성 개선을 위한 수정방안을 수개제시하고 언급해 놓았다.

• Proceedings of the KIPE Conference
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• 2015.11a
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• pp.48-49
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• 2015

본 논문에서는 3상용 6팩 인버터 모듈을 이용한 가극성 커플드 인덕터를 갖는 영전압 스위칭 펄스-폭변조 단상 풀-브릿지 인버터를 제안한다. 모듈을 이용하기 때문에 시스템의 조밀한 설계가 가능하여 영전압 스위칭 구현에 있어 큰 영향을 미칠 수 있는 기생 성분들을 줄이는데 용이할 수 있다. 본 논문에서 제안된 회로의 동작 원리와 특성들을 다룰 것이며 시뮬레이션을 통하여 가능성을 검증하였다.

• Proceedings of the KIPE Conference
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• 2004.07b
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• pp.489-493
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• 2004

연료전지는 차세대 대체 에너지원으로 부각되고 있다. 그러나 연료전지시스템 특성상 전류의 정격이 큼으로 전류의 리플성분을 감소시킬 필요가 있다. 본 논문에서는 부스트 컨버터 회로에서 인덕터에 흐르는 전류의 리플성분을 줄이기 위한 방법으로 3-channel 감${\cdot}$가극성 커플링 인덕터를 사용한 부스트 컨버터를 제안하였고 이를 일반적인 인덕터, 2-channel 감${\cdot}$가극성 커플링 인덕터를 사용한 컨버터 시스템과 비교 분석하고 시뮬레이션을 통해 시스템의 적합성을 검증하였다. 커플링 인덕터를 사용함으로써 전류 리플 성분이 감소될 뿐 아니라 시스템 효율, 무게, 가격 면에서의 효과도 기대 된다.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.22 no.1
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• pp.113-117
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• 2008

We investigated the current limiting and the recovery characteristics of a flux-lock type superconducting fault current limiter(SFCL) according to the winding directions. The flux-lock type SFCL consists of two coils. The primary coil was wound in parallel to the secondary coil through an Iron core, and the secondary coil was connected with the superconducting element in series. We have changed the winding direction of coils to compare the resistive type SFCL with the flux-lock type SFCL. The current limiting and the recovery characteristics were dependent on the winding direction. The quenching time in the additive polarity winding was faster than that of the subtractive polarity winding or the resistivity type. A consumed energy in a superconducting element was represented as $W= VIt=I^2Rt$. We found that there was a difference in the consumed energies in accordance with winding types because of differences in voltages imposed on a superconducting element in accordance with a winding direction.

• (The) Research of the performance art and culture
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• no.39
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• pp.357-392
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• 2019

This paper reexamines the formation process of Ch'anggŭk, Korea's musical drama based on p'ansori in the 1930s, focusing on the Ch'anggŭk gramophone records and the repertoire of the Chosŏn Sŏngak Yŏn'guhoe(Korean Vocal Music Association). The paper discussed the achievements and limitations of the Chosŏn Sŏngak Yŏn'guhoe which was at the center of the formation of Ch'anggŭk by examining the activities of the Chosŏn Sŏngak Yŏn'guhoe in the 1930s. The role of 'ipche-chang' and 'narrator' in the Ch'anggŭk gramophone records was seen as Ch'anggŭk imagination that was realized by the members of the Chosŏn Sŏngak Yŏn'guhoe who recognized the 'dramatic space and stage', which is distinct from p'ansori, Korean traditional vocal and percussion music. In addition, the paper discussed the difference and meaning of the concept of 'Sin-Ch'anggŭk' between Seo Hang-Seok and Song Seok-Ha, which is derived from the Ch'anggŭk formation. The performance of stage Ch'anggŭk in the 1930s was a repetition of the discussion that it should reach a point of Kagŭk, music or song dramas. This paper discussed the process of replacing the term 'Ch'anggŭk' with 'Kagŭk' at the time, and examined the way Ch'anggŭk stage was established as a perfect form during the process. The formation of Ch'anggŭk by members of the Chosŏn Sŏngak Yŏn'guhoe could be an important achievement in the history of Ch'anggŭk, but there was no choice but to reveal the limitation in the formal aspect due to the 'refinement' and 'exclusion' according to the cultural policy of Japan. P'ansori musicality was enhanced, but it could not contain the spirit and diversity of the times, so it could be said that there was no choice but to stop as a rudimentary creative imagination of Ch'anggŭk. Ch'anggŭk is a genre that is inherently limited, but the limitation can be overcome over the times, which will be covered in a subsequent paper.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.21 no.8
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• pp.107-112
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• 2007

The flux-lock type SFCL consists of transformer with primary and secondary windings connected to a superconducting element in serial. It can be divided into the subtractive and the additive polarity windings according to the winding direction. It could change the fault current limiting characteristics according to the inductance ratio between the coil 1 and coil 2. We investigated the voltage-current characteristics of the flux-lock type SFCL according to the increment of applied voltage. When the applied voltage of the SFCL with the subtractive and the additive polarity windings was increased a initial limiting current ($I_{ini}$) and the quench time of the superconducting element were increased. The recovery time of the superconducting element was increased by increment of applied voltage. Therefore, it was confirmed that recovery characteristics in the flux-lock type SFCL were largely dependent on the consumed energy of a superconducting element because of increment of the consumption power into the superconducting element.