• Journal of Music and Human Behavior
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• v.8 no.2
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• pp.65-75
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• 2011

The purpose of this study was to investigate the effect of vocal and instrumental background music on a verbal memorizing task. Participants were 30 undergraduate and graduate students and were randomly divided into two groups. All participants in both groups took a pretest and a posttest to examine the improvement of the memorization. Background music was inserted during the memorization task. Subjects in Group A listened to a vocal recording whereas Group B listened to the same music except with a cello playing the melody of the vocal part. All participants were asked to take the posttest to examine the improvement of their knowledge after the memorization. The t-test was used to compare the two groups. Results indicated that Group A(8.93) exhibited higher mean scores than Group B(7.46) but there were no significant differences t(28) = 1.38, p < .05. This study implies that lyrics does not distract word memorization and background music does not influence cognition directly.

• (The) Research of the performance art and culture
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• no.33
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• pp.97-128
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• 2016

According to the findings of the study, the music composition of the mask play is deeply related to the main characteristics of the scene. The first scene of the play starts with the Byeoksa dance. This particular dance part represents the evil spirit expel ritual. The instrumental accompaniment like and are played for the dance. The last part of the play starts with the Halmi and Yeonggam scene. This scene is played in both the instrumental and vocal music. For the instrumental part , for the vocal part and songs are played. and songs are played on the part of the Halmi's funeral ceremony scene. The instrumental and are played in various scenes for the accompaniment of the dance part. The musical structure of the mask play is flexible. This kind of flexibility of scene structure mainly concerned with the way of musical composition. The main structure of the mask play can be classified into two main styles according to the allocation of the vocal music. In first style, the vocal music is evenly dispersed. In second style, the vocal parts are concentrated in the rear section. As I mentioned earlier, no logical association is found in the matter of the scene arrangement. A scene arrangement has a deep connection with the arrangement of the music in each scene. In conclusion, the mixed arrangement of the scene in mask play is mainly concerned with the matter of the music arrangement in order to maintain the tension of the drama.

• Journal of Korean Library and Information Science Society
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• v.38 no.3
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• pp.425-454
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• 2007

This study is to present a draft for the formulation of uniform title for sound recordings of the Korean traditional music. The draft as the results of this study is summarized as follows: In a musical work of a type of non-composition, the popular name is put into square brackets as a uniform title of court music and folk music in the old Korean traditional music, and the composer's original title is put into square brackets as a uniform title of the new Korean traditional music, but the medium of performance and others are omitted except an identifying element. However, for the formulation of uniform title of a type of composition in an instrumental music, the descriptive form consisted of the order of 'name of one type of composition, medium of performance, serial number, opus number, key, and a descriptive word or phrase' is put into square brackets as a uniform title and the identifying elements. And in the vocal music of the old Korean traditional music, the following medium of performance is used: in vocal choruses, a type of voices; in solo voices, a type of solo voice by sex, but one of the new Korean traditional music follows the descriptive form of the western classical music.

• (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) Research of the performance art and culture
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• no.35
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• pp.287-338
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• 2017

Gojong' Birth Anniversary Memorial Banquet in the 1910s was forced to be performed differently from the performance style in Joseon Dynasty period that featured a harmonious majestic beauty of etiquette music. The banquet was separated into three different sessions of ceremony, luncheon and performance', which clearly revealed a distinctive pattern of etiquette music. The performance was accompanied by the dinner party or was lightly implemented as part of evening entertainment. With the use of the term entertainment, the performances belonging to this category fell into nothing but something to enjoy, amusement, fun and play. The contents of such performances were not closely woven into the fabric of the entire banquet but were individualized and scattered in a way of putting the performances in a state of flux in line with the circumstances. Therefore, it became increasingly hard to expect a high degree of completion and solid structure of performances. The items of performance included western music, popular vocal music, popular instrumental music, magic, and film, which were not played in traditional court banquet in the presence of Gojong rather than traditional music and dance performed in court. In other words, the court performance could not maintain its traditional heritage but was transformed into a mixture of popular performance and new forms of art. It was driven by the Japanese imperialism toward the atmosphere of entertainment in oblivion of tradition but not toward the external extension of court performances.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.121-131
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• 2020

The study of arrangement in musical theatre has been relatively marginalized compared to the playwriting and composition. However, as complete musical music can never exist without the process of arranging, the arranger is a major creator who plays the most important role as a playwright or composer, and finally makes a decisive contribution to enhancing the completeness of the musical. Based on the tracks of (2006), (2007) and (2008), among the prestigious Tony Awards winners for Best Orchestrations, the feature is divided into instrumentation, instrumental combinations and dispositions, and insertions of counterpoint. So, we can discover the new imagination and creativity of the arranger, and the arranger's clever orchestration techniques that meet the composer's intentions.

• (The) Research of the performance art and culture
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• no.40
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• pp.269-305
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• 2020

Youngsan is generally known as Pansori Danga(短歌). However, the contents of 'Yeongsan' in 『Songnamjabji』 are different. In 『Songnamjabji』, Cho Jaesam explained the contents related to 'Youngsan' using three kinds of poems: Shin Kwangsoo's poem, Baegho Imje's poem, Kim Myeongwon's poem. First, 'Ujo Youngsan' appears in Shin Kwangsoo's poem. Shin Kwangsoo wrote the (1750) when Yoo Jinhan's 『Manhwajib(晩華集)』(1754) was published. It is difficult to see the 'Ujo Youngsan', which appears in Shin Kwangsoo's poem written in a time when Pansori was not widely known, as the Pansori Danga. Second, Jo Jaesam called the music in Baegho Imje's poem 'Youngsan Dodeueum'. In 'Youngsan Dodeueum', flute and 'Dodeuli rhythm' were used. This fact is connected with , an instrumental music. , also a Buddhist term, continued to be used in the palace as well as among the people. Third, Cho Jaesam introduced Kim Myeongwon's poem in 'Yeongsan' part and called it 'Taryeong.' At that time, the term 'Taryeong' referred to both Pansori and Jeongga(正歌). Later, in the 19th century, 'Youngsan' was recorded as a term for the Danga to loosen the neck before Pansori began in earnest. In other words, the early 'Yeongsan' recorded in 『Songnamjabji』 was a Buddhist term, referring to the music of the upper class Seonbi, such as , Gasa(歌詞) and Sijo(時調). In 1855, when 『Songnamjabji』 was written, 'Youngsan' was used as a term used to refer to both Changbu-Music and Gagaek(歌客)-Music, mixed with the term 'Taryeong'. And as Pansori became popular, the term 'Taryeong' came to be called 'Pansori' and 'Youngsan' was used to refer to Pansori Danga. Therefore, all the records of 'Youngsan' should not be interpreted as Pansori Danga. This situation is closely related to religious and social change. The policy of worshipping Confucianism and suppressing Buddhism rejected the term 'Youngsan' which had a Buddhist meaning. In the middle of Joseon Dynasty, when Buddhism was suppressed, 'Youngsan' and 'Taryeong' were mixed. As Buddhism regrown in the late Joseon Dynasty, with the advent of Pansori, the term 'Youngsan' seems to be newly resettled in the sense of Danga. Pansori appeared in the 19th century and 'Yeongsan' was used as a Danga. And the reason should be regarded as this social and religious change.

• The Journal of the Korea Contents Association
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• v.22 no.3
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• pp.152-164
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• 2022

This thesis explores the relationship between Dominic Cooke's film (2017) and classical music. To analyze the relationship, researchers applied precedent research to the study. The relationship between the final scene of the movie King's Speech (2010) and the volume and instrumental changes of the Beethoven Symphony is analyzed by David Bashwiner, and Soohwan Ahn analyzed semantic association between the hotel conversation scene in a and Debussy's Arabesque. In addition, the study of application of Schumann's Träumerei to films was used as a methodology to find out how extra-musical information build meaningful sonority. Mozart's K.593, Haydn's Op.77 No.1, and Schubert's D.810 were used in the movie . This study analyzed the functions of Mozart, Haydn, and Schubert's music in . In order to express the relationship between the characters and their inner intentions, this film utilized the relationship between instruments, musical information and non-musical information of the pieces. Through this study, it is analyzed that the information of classical music functions and the core information of the plot of the movie combine together to improve the understanding of narrative.