• (The) Research of the performance art and culture
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• no.43
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• pp.79-120
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• 2021

Nagyangchun is a Dangak that has been handed down to the present time with Boheoja as a Saak of the Song Dynasty which was introduced in the Goryeo Dynasty. The title and lyrics of Nagyangchun are conveyed in the Dangakjo of Goryeosa-akji and the Jeungbomunheonbigo. The remaining scores containing Nagyangchun include Akjangyoram, Sogagwonbo Vol.4 and Vol.6 of the Joseon Dynasty and Aakbu-akbo, the 6th Aaksaeng-gyogwacheol, Leewangjikaakbu-oseonakbo during the Japanese colonial period. Besides, the current melody of Nagyangchun is based on Hangugeumak and Gugakjeonjib published by the National Gugak Center. This paper aims to examine how Nagyangchun, which is currently being performed at the National Gugak Center, went through the process of change to have the same structure and form as it is now using these scores as a research subject. The study results are summarized as follows. First, the song of Nagyangchun, which was originally Saak but transmitted as an instrumental piece without lyrics, first appeared in the Hangugeumak Vol.16 and Gugakjeonjib Vol.7 published by the National Gugak Center in 1978 and 1979. In this process, the Janggu added by Kim Ki-soo is now disappearing and is replaced by Jwago. Second, though the five notes of 黃, 太, 仲, 林, and 南 have been maintained unchanged since the Akjangyoram, the pitch of 無/應 and 夾/姑, which appear once each, gradually rises and is unified into 應 and 姑 during the period of Aaksaeng-gyogwacheol or at the latest Leewangjikaakbu-oseonakbo, and reached the present. Third, the current melody of Nagyangchun consists of a structure in which the tones and range of each phrase rises within the form of Mijeonsa (a·b·c·d) and Mihusa (e·b'·c'·d'). Particularly, except for the a-type and e-type melodies, which are the introduction for the Mijeonsa and Mihusa, the remaining melodic types show a gradually descending structure within the corresponding phrase, so the structure of ascending and descending is generally in harmony. Forth, the Ganeum that appeared from Aakbu-akbo are currently classified into seven types, and they appear in ascending pitches of 2nd, 3rd, 4th, and 5th and play a role in smoothly or fluently connecting melodic progression. Fifth, after Akjangyoram, Nagyangchun, which had been handed down as an instrumental piece without lyrics, was restored in 1960 by Lee Hye-gu, and is being passed down as the form of male and female vocals added to the instrumental accompaniment. As a result of examining the current Nagyangchun, which was formed through the process of change after Akjangyoram, it was found that there were tasks that required reconsideration of the current Nagyangchun, which is being played at the National Gugak Center, such as the arrangement of Janggu, the identification of the key, and the investigation of the lyrics. When follow-up studies are continued in the future, it will be able to contribute to the cultural transmission of Nagyangchun.

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.194-204
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• 2022

This study examined the social capital and geographical gaps of local television stations using web data gathered through website crawling. URLs for 16 local MBC websites were collected. MBC is an abbreviation for Munhwa Broadcasting Corporation, one of South Korea's largest television and radio broadcasters. Munhwa is a Sino-Korean term that means "culture." It initially determined which institutions local broadcasting stations were linked to using a Web Impact Report. To investigate the specific connection type, URL information was classified using the n-tuple helix model, followed by 2-mode network analysis. The n-tuple helix model is an analysis method that extends the standard university-business-government triple-helix model by including a new network innovation originator. As a result, local broadcasting stations relied heavily on activities like as festivals, performances, and exhibitions to engage the local community. Local stations in Daegu-Gyeongbuk area and the Busan-Ulsan-Gyeongnam area were identified as having the most diverse connections to the local population among other regions.

• (The) Research of the performance art and culture
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• no.19
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• pp.347-378
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• 2009

Those who were from Jaeincheon and Jaein line entertainers played great roles during transition period from traditional society to modern society, and even at present the dances of them are the representative traditional dances of Korea and the matrix of Korean originality. Nevertheless, Korea dance field has given little importance to these dances, but too much importance to Gibang dance in studying traditional dances, which causes the studies on Jaein line danced to be superficial or separate. Therefore, the aims of this article are to analyze the dances of Jaein line by Han Seong-jun, who was representative for the dances, and to appraise the historical value of them. Han Seong-jun(1874-1942) was the most influential dummer and dancer of his day in Japanese colonial times, and has been recognized as one of the masters of traditional dances. He established autonomy of traditional dances by reorganizing, collecting and stage-formalizing the dances, and systemized transmitting ways for various folk dances including a Buddhist dance, which made it possiblefor those dances to be traditional dances of Korea and the bases for creative dances. The values of Jaein line dances, which were transmitted through Han, are the following: First, the dances have been designated as national or regional intangible cultural assets, and, as the representative traditional arts, we proudly show them to the world. Second, the dances, as one of the genres of Korean dances, are the subjects of younger scholars' studies. Third, the dances become one of the representative examples of revivals of traditional dances, which tend to be extinct during modernization times, and contribute to establishing national identity and subjectivity. In addition, they contribute to discovering and transmitting other traditional dances. Fourth, the dances enable many dancers to make association, that is, Association for Preservation of Traditional Dances,for the transmitting the dances, and to distribute the dances and get many dancers to transmit the dances. Furthermore, as new performance repertories, they give another pleasure to the audience. In addition to the above, as a base for expansion of Korean creative dances, Han's dances have other values such as the following: First, in searching for a new methodology for creation, he played an important role in rediscovering the foundation in the tradition, and tried to discover nationalidentity by employing the traditional dances for expression of theme. Second, he contributed to drastically dissolving the genres by expanding the gesture language from motion factors of traditional dances, which can be compared to the modern dance. Third, he tried new challenging approaches to re-create the tradition, and contributed to pursuing the simple elements of our traditional dances as traditional aesthetics. While the dances of Jaein line have such values as the above, there are also some problems around the dances, such as the confusion in the process of transmission resulted from different transmission forms and transmitters, which we must no longer leave as it is. Furthermore, it is urgent that the rest of Jaein line dances be recovered and designated as intangible cultural assets for the sound transmission of the traditional dances.

• (The) Research of the performance art and culture
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• no.32
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• pp.131-169
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• 2016

We will study cultural sprauchling about Pungmul-Kut to find out the sphere of "Gui-myeong-gui" alongside Jeollanam-do, Jeollabuk-do western coast. In this area, there are some traits and terms about Gui-myeong-gui, a sort of Pungmul-Kut and Goon-go. Several Pungmul-Kuts which border the sphere of Gui-myeong-gui are Goon-gui in a southern direction, Unnyeongnongak of Honamudonongak in a eartern direction, and Yeongmujangnongak. The acculturation occurs in two ways. One is the possible acculturation with Goon-gi or Goon-go in coastal areas. The other is the acculturation with Honamudonongak. Especially, this phenomenan appears in double-way interaction. At first, there is the influence of Gui-myeong-gui in Honamudonongak. Kim Bau's style, which might relate to Gui-myeong-gui in Geommopojin, incorporate one of Panje of Honamudonongak through Park Namsik. This phenomenon is porved by the affinity between Eunjijaetji Galag of Honamudonongak GeollibKut and Eungmagaenggaeng Galag of Goon-go, and by the similarity to Neonari-Galag. In case of Neonari-Galag, the role of Jing in Neonari-Galag is replaced by Janggu in Honamudonongak, because of the geatest popularity of Janggu in those days. Secondly, there is the influence of Honamudonongak in Gui-myeong-gui. Northern sphere of Gui-myeong-gui like Buan-gun, Okgu-gun has been influenced since early $20^{th}$ century. In addition, the phenomenon which the sphere of Gui-myeong-gui accepts actively Honamudonongak could occur. So this thesis fragmentarilly checks the existence and traits of Gui-myeong-gui. Based on it, we would be able to reveal and reconstitute the nature of Gui-myeong-gui by understanding acculturation of Pungmul-Kut and by comparing Goon-go with Honamudonongak and Yeongmujangnongak in several regions. Also this thesis draws attention about meanings and effects of Yeonhuinongak's acceptace of Goon-beop.

• (The) Research of the performance art and culture
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• no.20
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• pp.129-161
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• 2010

Women's social status is marginal in the patriarchal system, therefore it is not easy to express their's desire. Women's social role are restricted by the Confucian culture in the late of Chosun Dinasty. But women freely expressed their's gamseong(感性) by singing the folk songs. Many researches have focused on the reality of life or the structure and meanings of the women's folk songs. On the contrary, no one has paid attention to the gamseong in the women's folk songs. This is the reason why this thesis focused on the aspects of gamseong in the women's folk songs. The aspect of gamseong expression in women's folk songs can be classfied as follow: HAN(恨) resulting from living with one's husband's parents (Si-jip-sa-ri); LONGING caused by parting with the lover; HOPE due to childbirth and bringing up; SHIN-MYOUNG(神明) through deviation and liberation. In conclusion, We can find out women's gamseong would be formed from the their own roles and relationship with the others. Besides they could offset their sorrow and cure their pain through loving others and selfloving.

• (The) Research of the performance art and culture
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• no.34
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• pp.355-382
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• 2017

In this study, pieces of statements of sinawi successors, which served the ground of sinawi theory of Lee(that are found only in reports and theses) were searched from notebooks or cassette tapes of Lee. Then, this study tried to trace the process that the theory of sinawi was established based on the fieldwork of sinawi and relevant data, and to shed light on the significance. With the understanding from the early days that life of minsokak can be found in musical scenes in the region, Lee wandered around the scenes of minsokak(folk music) in the nation, recorded minsokak, and collected dialogues with successors of minsokak with about 2,000 cassette tapes and 300 notebooks. Especially, in the fieldwork data on sinawi that Lee possesses contain dialogues with the newly found sinawi successors that Lee found in the scene of sinawi in Gyeonggido province, Jeollado province, and Gyeongsangdo province over numerous visits for over 20 years from the early 1970s. Sometimes the record includes improvised sinawi performance. As the fieldwork of sinawi by Lee was conducted comparatively early, there are a lot of testimonies of successors who remember the sinawi scene of the past. Using these data, Lee published theories related to sinawi on reports and theses. His representative thesis is about 'Sinawi Chung'(1979). After listening to the testimony of Younghee Ji, the master of Gyeonggi haegeum sinawi in his first fieldwork of sinawi, he started his research on sinawi chung of piri, daegeum, and haegeum in Gyeonggido province and Honam area. Based on the testimonies on sinawi chung of 11 sinawi successors, Lee published 'Sinawi Chung'. In 1987, he extended the scope his research to sinawi-kwon(圈), which includes Gyeongnam area, found 12 new sinawi successors in Gyeonggi, Honam, and Gyeongnam areas, and based on their testimonies, complemented the theory of sinawi chung and published it. Fortunately, most of the dialogues with sinawi successors quoted in his reports or theses are recorded in his notebooks or cassette tapes. When these data are released, it is expected that a new theory of sinawi or minsokak will be born.

• The Journal of the Acoustical Society of Korea
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• v.23 no.2
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• pp.146-161
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• 2004

There have been always some difficulties in target setting and conditioning of acoustic performances of the Korean traditional music hall due mainly to the lack of the information on the sound radiation characteristics of Korean musical sources. In this study, the radiation characteristics of four typical Korean traditional musical sources were investigated in precision and their usage was demonstrated: The selected musical sources were Gayageum (string), Daegeum (woodwind), Jango (drum), and Pansori Chang (vocal performance). Each sound source was located at the center of a semi-anechoic chamber and the directivity was determined by the measured sound pressure levels in every 10° angular position, for both vertical and horizontal directions. The directivity pattern of Gayageum varies from a uniform to a complex pattern having many side lobes with the increase of frequency. The main radiation of Daegeum is toward the upward direction. The directivity pattern of Jango is clearly a side-oriented one and the left direction intensity is sharper than its right side at low frequencies. For the Chang, the directivity pattern change from a uniform pattern to a frontally directed one as the frequency goes high. Measured directional and spectral characteristics of traditional Korean music sources were implemented into the computation of architectural acoustic measures for the Busan National Korean Traditional Music Hall which is under construction. Parameters such as RT, SPL, C80, IE, STI were calculated at two receiver positions by using a ray tracing technique. Significant differences in the acoustic measures at receiver positions were observed between the results in using the omni-directional source and the directional one. 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.

• The Journal of the Korea Contents Association
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• v.11 no.5
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• pp.216-223
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• 2011

This study aims to historically and academically shed new light on Jamu(字舞) to which there is little reference now on the basis of reference of neighboring country (China), to discover traditional unique contents by considering constituting principles, and to use these data to inherit and develop Jamu as a stage performance which is suited for the present age. The result of this study shows as follows. The first, Seongsumu was made up of the dances making 16 letters-"Seongchocheongo(聖超千古), Dotaebaekwang(道泰百王), Hwangjemannyoun(皇帝萬年), Bojomichang" - by 140 dancers. Made letters were intended to face audiences and this is similar to group gymnastics of today in the aspect and form stakes. The second, it is thought that Youngseongsomu the dance making Cheonhataepyeong(天下太平) and recorded in "Youngseongsomubo" of China is related to 'Wangmodaegamu(王母隊歌舞)' the dance making Cheonhataepyeong(天下太平) during the Moonjing rule and recorded a little in The History of Goryeo, 25 volumes (高麗史 卷25). With this study as a momentum, continuous study is needed on Korean traditional dance inherited barely today in order to develop new various contents of Korean traditional arts which are being forgotten by studying and researching related references in neighboring countries such as China and Japan.

• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.151-162
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• 2015

A theme park is a complex space, in which held is a performance & exhibition event created to make visitors feel fun and a deep impression through a certain theme. Recently, local governments are increasingly planning for theme parks with the aim of local economy revitalization. Accordingly, this paper set up a development model for a Korean culture theme park after deducting success factors for creating a successful theme park through the case of Korean culture theme park. To be concrete, this paper deducted the success factors through literature research and case research as follows: Setting of themes having identity and consistency; programs that can give fun and a deep impression; convenient support facilities reflecting customers' needs; differentiated marketing for progress in customer attraction power; location linked with cultural resources around a theme park and a space for communicating a message; privately-initiated project promotion and the main body of operation; target setting consequent on market segmentation, and demand forecast, etc. A theme park cannot be successfully operated to contribute to local economy revitalization until such success factors should be closely linked and harmonized with each other. In addition, in order for a theme park to make a continued growth, it's required that problems occurring at the operational stage should be endlessly improved, and contents strengthening should be continuously done in line with circumstances of the times and viewers' eye level.

• Land and Housing Review
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• v.1 no.1
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• pp.91-102
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• 2010

The purpose of this study is to prepare the introduction of the community facilities in public corporation buildings as the effort to community activation in the innovation city. The type and development condition of community facilities, and the cases of the private and public corporation buildings are studied. Moreover, the type and scale of facilities which can be established in the public corporation building that will move to the innovation city. The result can be summarized as follows; First, the community facilities can be classified into leisure, public administration, culture, athletics, and welfare, and the facilities are suggested at each hierarchy of living area. Secondly, the result of the case study shows that the public corporation establishes and operates various facilities include welfare, culture, and athletic facilities while the private part usually installs the cultural one. Thirdly, cultural(library, museum, performing place), athletic(soccer field, tennis court, swimming pool), welfare(day nursery, children's library) facilities are selected as the applicable ones to the public corporation building which is going to move to the innovation city. And finally, the basic unit of each facility is derived based on the investigation of legal standard, present condition, and literature reviews, etc., and applied to estimate the scale of the community facility in the public corporation building.