• Sijohaknonchong
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• v.22
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• pp.143-171
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• 2005

Sip and Byul-Gok (New tunes), as folks musics, are musical concepts opposite to that of the Court musics. They have the tunes. typical and universal. and Byul-Gok for singing. has the words in which the properties of melodies in the structures of compositions are reflected harmoniously. The Song. or Shiga. in Koryo-Sa, History of Koryo. Acjee and Acjanggasa. named ByulGok. is divided into two types. according to the characteries of the forms.: Koryo Sokyo. or the folk songs in Koryo. such as Chengsanbylulgok. and Segyoungbyulgok. and Kyonggichega, or nobility songs in Koryo and Chosen Dynasty. such as Hallimbyulgok. Kwandongbyulgok. and Jucgyebyulgok. In addition. Gasa. or the nobility and folk songs in Chosen Dynasty. such as K wandongbyulgok. also has the title. Byul-Gok. Even though these types of the songs have the same tittle. Byul-Gok, it is not appropriate that Byul-Gok is used as a term described as a branch of the literature: in light of music. they have the properties in common in the sense that they are opposite to the Court music. but. in light of literature. their forms are very different from one another. Therefore, it is appropriate that they are classified according to the characteristics of the forms, winters, the ideology of people who enjoy them, and periods: Sokyo, Kyonggichega, and Gasa. Byul-gok means not only the folks songs opposite to the court musics, but also the songs by setting words to the melodies present. Orignal tunes and their new tunes are not different musical compositions, but the same ones with the melodies which Korean acquired transcendentally. It is general tendency, at those times, that after compositions were made, words are set to them. Such words represent the politic thought in which courtesy and music are considered important. and the spirit with which the ruler and the people enjoy together.

• Proceedings of the Korea Contents Association Conference
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• 2015.05a
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• pp.93-94
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• 2015

본 연구는 보컬을 위한 영어 딕션법을 이중모음 [aɪ], [eɪ]. [ɔɪ], [aʊ], [oʊ]를 중심으로 연구했다. 먼저 영어음성학을 기초로 소리 내는 법을 정리하고 그다음으로 노래할 때 필요한 딕션법을 정리했는데, 이 항목에서는 이중모음을 노랫말로 표현할 때 조음기관의 위치를 어떻게 설정할 것인지를 중점적으로 다뤘다. 각 항목의 예시로 영어노래 악보들을 첨부했으며 악보에 표기된 가사들은 원어, 국제음성기호(IPA), 한글표기 세 가지로 분석하여 노래할 때 참고할 수 있도록 만들었다.

• Sijohaknonchong
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• v.42
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• pp.69-91
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• 2015

The aim of this paper is to examine the men's ideal lives and the aspects of variation in Sijo. In this paper the focus is two texts of Saseol-Sijo. One is the Saseol-Sijo without any known author, the other is the Saseol-Sijo written by Lee Jeong-bo. These works were enjoyed by many people to posterity, and they were played a variation. The first aspect of variation is the emphasis on men's magnanimous and amusable life. This aspect is thought to be a result of the interference of entertainment space. The second aspect of variation is to show the awareness of impossibility of riches and honors and belief in his alternative life. We can see the conflict between reality and desire. This case is thought to be enjoyed by the person who can sympathize with that situation. The third aspect of variation is to show the transcendence of desire for worldly success and the interest in a happy old age. This case is worthy of notice because it shows the interest in old age. This case expresses the desire for comfortable life or pleasure-seeking life, and it is thought to be more concerned with a concrete everyday life than an idea. Sometimes we can see the works that show reflection of his(her) life and mature attitude to life. More studies on these works should be done.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.155-156
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• 2017

대중음악에서 작사가의 역할이 늘어나는 것은 그 시대가 갖는 문화적 특성이 노랫말에 부각되기 때문이므로 근래 청중의 관심이 높은 작사가를 추출하여 이들의 가사를 주제별로 분류한다. 주제별 분류를 통해 가사가 총 4가지 주제인 사랑, 이별, 자기표현, 유흥 등으로 나뉘는 것을 알 수 있다. 본 연구는 4가지의 주제 중 대중가요에서 가장 높은 빈도수를 보이는 주제인 사랑을 지정하여 사랑 주제에서 다양하게 세분화되는 소재를 분석한다. 이에 대중적으로 인기가 많은 가사에 나타난 구성 방식을 제안한다.

• Sijohaknonchong
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• v.25
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• pp.145-174
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• 2006

The purpose of this study is to research the correlation of Sijo with Akjang. In Joseon Dynasty, the contact of folk music and court music was brisk. Although they had some political premises, many Jeongjaes presented in the royal court parties accepted Gagok, one of the representative folk song genres. It was an eye-opening matter. The song words sung by Gagok music accompaniment were the lyrics of Sijo. We can give Sijo that was used in diverse royal court parties as an typical example about introduction of folk music to the court music. A lot of Goryeo Dynasty's Jeongjaes were introduced to Joseon Dynasty nearly as they are. Naturally so most Sokak-gasas were. Bukjeon was sung to Jinjak tune which Jeong-gwajeong was sung. Bukjeon in the music book Akhak-Guebum is a long song, but instead Bukjeons in the music book Geumhapjabo and Yang'geum-sinbo are short. It suggests that the poetic form of Sijo was introduced to the Lyric of royal court music from a point of time in the early Joseon Dynasty. Especially, Bukjeon had been continued to the late Joseon Dynasty after exchanging to the lyric form of Sijo. Bukjeon had been used In the royal court to the first half of Joseon Dynasty It became established in the repertory of Gagok after spreading to people out of court. Turnover from the long Bukjeon to the short was a result that the folk music influenced royal court music. Bukjeon. song words praying King's longevity. was used in the diverse situations such as a small royal parties, royal archery, and King's outing. It can be a clue that the Korean song words continued to late Joseon Dynasty were used for the lyric of royal court music. In the correlation of the poetic form of Sijo and Akjang, we can find out some characteristics different from our common sense to distinguish royal court music from folk music.

• (The) Research of the performance art and culture
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• no.34
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• pp.315-353
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• 2017

This study examined the music policies of the three kings, Seongjong, Jungjong, and Injo, who were in power for about 200 years from the late 15th century to the early 17th century. These three kings deserve attention in musical history for different reasons. Sungjong published "Gugjooryeui"(1474), "Gyeong-gugdaejeon"(1476), and "Aghaggwebeom"(1493), the typical etiquette books, law books, and musical books that take the most important position in the history of Joseon, so his direction of music policy deserves attention. Jungjong was the king who rose to the throne after there was a revolt against Yeonsangun's tyranny. Injo ascended to the throne by starting a military coup d'etat himself. One may wonder how the aspect of music policies developed by a king, who was crowned by a revolt, is different from other cases. As each of these three kings had different background of enthronement and the contents of music policies in the royal family also developed with different emphasis, this study examined each aspect separately. Sungjong emphasized the importance of music and regarded it important to cultivate officials who know music. To this end, he gave a special order to Yejo(the office of protocol) and this study tried to clarify the contents first. In addition, this study examined the process, contents, and meaning of various modification works related to the revision of the lyrics used in the ceremonies. Jungjong supplemented the institutional aspects of music. This is the result of expressing the will to correct the anomalous and reckless music policies of the period of Yeonsangun. In addition, many words in the lyrics had been about Buddhist doctrines and love songs between male and female, so there were efforts to reform these. As for the period of Injo, this study examined the music policies that were made in the process of resolving the crisis after the war. It was a time when court musicians were scattered after two times of war and it was not possible to hold the national ritual properly, so music policies in this period were different from the ones in stable era. This study covered discussions on the measures to collect lost instruments and scattered musicians. It also looked at how the restoration effort was made in the situation that the music used in ancestral rites was abolished.

• (The) Research of the performance art and culture
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• no.43
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• pp.357-380
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• 2021

Akjang yoram 『樂章要覽』 is a book that summarizes only the important contents from the Akjang 樂章. Akjang 樂章 is arranged in the first half, and score 樂譜 is arranged in the second half. It seems that Akjang yoram 『樂章要覽』 passed through a total of four stages through the time when the handwriting and the lyrics were written. The presence of various handwriting and traces of modifications means that it has been passed through by several people, so it is not unrelated to the fact that several traces remain on the back of the cover of Akjang yoram 『樂章要覽』. The first part of the Akjang 樂章 is a method of presenting the name and lyrics of the accompanying music based on the ritual procedure, and in particular, the lyrics are written in Chinese characters and Hangeul sounds to improve readability. The score in the second half complies with the ritual procedures, but boldly omits overlapping melodies, and is composed based on the music, and various symbols are used to capture the expression of court music. This structure is a reflection of the direction we practiced to harmonize with the music after prior ritual procedures and diction. This was a device to increase the efficiency of music education and music practice for the court musician. The characteristics of the musical pieces are that they consist of essential musical pieces that must be mastered as musicians. In addition, the name Kim Hyung-sik 金亨植 is noted on the back cover of Akjang yoram 『樂章要覽』, and he was a court musician who was active in the age of King Sunjo 純祖. In other words, the musical pieces included in Akjang yoram 『樂章要覽』 are the core repertoire played by court musicians like Kim Hyung-sik 金亨植. Akjang yoram 『樂章要覽』 is a 'music practice booklet' containing the daily life of court musicians. Akjang yoram 『樂章要覽』 is a booklet designed for the purpose of teaching the court musicians to sing while correctly pronouncing the lyrics in major ceremonies. It is even more noteworthy in that Kim Hyung-sik 金亨植 was an owner. In addition to the fact that Kim Hyung-sik's name remains, and in the practicality of being used by various court musicians reflecting and modifying the changes of the times, it is meaningful in that it contains the path of court musicians who spent a lot of time and time to transmit court music.

• (The) Research of the performance art and culture
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• no.35
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• pp.125-174
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• 2017

The Cheondeok-Song (religious songs of Cheondo-Gyo) of the Japanese colonial period shown on Cheondo-Gyohwe-Weolbo, the monthly magazine of Cheondo-Gyo Church were examined in this paper. The results are as follows. There are scores of songs, lyrics, and articles related to Cheondeok-Song in the monthly magazine. The five-tone scale or Korean traditional rhythm style was partly used, but western music form was dominant in most of the songs. Especially the four-part form of Christian hymns became usual since 1931. This shows how people thought of the new trends. The reception of the new trends being emphasized, but they recognized tradition as an object of overcoming rather than of succeeding. The lyrics contain religious contents and the spirit of the period to restore national self-respect and contribute to the world peace through overcoming Japanese imperialism. But the rhythm of seven and five syllables which is suspected to have been introduced by Japan was spread after the 1920s. Cheondeok-Song have been sung in the three grand anniversaries and other anniversaries, the Prayer-day, in Cheondo-Gyo church services on Sunday, ceremonies, and in lecture. There are various kinds of songs and their status is very high. Especially, Cheondeok-Song have been used actively in mission works and edification for women. Cheondeok-Song actively reflected the domestic and international trends and the demands of that times. They could sing self perfection through enlightenment and also the social reform based on it. These are the reasons why I think Cheondeok-Song of those days are so important. Cheondeok-Song reflected modern elements actively, but couldn't succeed the national form and the traditional elements properly. The problem of cultural identity is not only a specific group's but also that of the whole humanity of maintaining cultural diversity. This is also a task that Cheondo-Gyo Cheondeok-Song have to solve in the future.

• Korean Journal of Childcare and Education
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• v.10 no.1
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• pp.95-109
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• 2014

The purpose of this study is to provide a reference for analyzing Korean traditional children's songs. A survey of opinions on the analysis criteria was conducted two times with 30 experts involved in early childhood education and its related field as the primary target. The SPSS 12.0 program was used to calculate the standard deviation and average. As a result of the expert opinion survey, 3 main categories (lyrics, music, and acting), 11 sub categories of the subsequent criteria for analysis and 33 sub-sub categories were finalized as items for analysis criteria.

• Korean Journal of Childcare and Education
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• v.8 no.5
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• pp.253-274
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• 2012

The purpose of this study is to make establishing criteria for Korea traditional nursery rhyme suitable for children and apply them effectively in early child education. The researchers of this study are firstly concerned with establishing criteria for Korean traditional nursery rhymes suitable for children. Secondly, they are concerned with establishing Korean traditional nursery rhymes suitable for children which are selected by following the established criteria. A Delphi survey was performed with early childhood educators and 30 related professionals to establish criteria for Korean traditional nursery rhymes suitable for children. The SPSS 12.0 program was used to calculate the standard deviation and average. Through this process the final seven criteria selected are: 'traditional play spaces and fun of play language is showed', 'lifestyles and emotions of children in the past is expressed', 'easy to understand story', 'the content is interesting', 'assisting in the development of children', 'easy to sing melody', and 'simple and repetitive in rhythm'. And 112 songs appropriate to the children were selected based on these criteria. The lyrics of the songs mainly expressed 'the joy of play.' it means songs need to combine with play to succeed to the next generation.