• Journal of Naturopathy
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• v.12 no.1
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• pp.16-23
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• 2023

Background: There is a need for index research on music therapy activities for the elderly in Korea. Purposes: This study aims to suggest application standards in music therapy by surveying the elderly's preference for music therapy activities. Methods: A survey of music-related actions and musical instrument preferences was conducted with 91 older people in 4 nursing homes. The questionnaire consisted of information about music activities, genres of songs, types of instruments, methods of movement, and purpose of participation in activities. Results: The preference for musical activities was for playing musical instruments, followed by singing, music appreciation, flowing movements, and concert-oriented activities. Music genres appeared in the order of popular songs, folk songs, and children's songs. The instrument type preferred drums, followed by shakers and woodblocks. As a movement application method, movement using themes is preferred. Participating in music activities was leisure, followed by stress relief and emotional cultivation. Conclusion: When applying music therapy to the elderly, it predicted that the treatment effect would be high when the elderly focus on playing musical instruments and singing activities preferred by the elderly. Music genres selected from popular music and folk songs, and musical instruments are drums and shakers. Therefore, if you use it, you can expect a more significant effect.

• Journal of Korean Classical Literature and Education
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• no.38
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• pp.5-35
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• 2018

This paper discusses this seminar's theme, 'Classic Literature Enjoyment Methods and Education,' with a focus on the genre of classic poems. However it does not focus on any individual method by discussing a specific genre or enjoyment method but focuses on a fundamental discussion. The importance of a functional relationship between the classic poetry genre and its enjoyment method is raised avoiding a generalized discussion. There are things that researchers often forget about classic poems. They forget that most classic poems are not ordinary poems but songs that are to be sung, and thus they should, in principle, be expressed in Korean language. These two facts about classic poems, indicate that their enjoyment method should be given importance. Compared to modern poems, Chinese classic poems, folk songs, and other forms of verse, only classic poems have the aforementioned conditions unique to them. In addition, classic poems include several types of poems, Japga (literally, miscellaneous songs), and Siga (literally, poem-song) genres representing each era, so it is important to discuss the characteristics of such poems with respect to their times periods and genres. Even based on such characteristics, the enjoyment situation where works are created and sung in the genre of classic poems is very important, and thus the enjoyment method issue should be closely linked with the study of works and genres. This study examines how the topics of enjoyment methods for classic poems is reflected in the current middle education curriculum. To improve the current situation, it outlines the issues that arise when enjoyment methods for classic poems are applied to textbooks or classes, set as textbook unit goals or criteria for achievement, and presented as measures designed to plan the composition of works and learning activities. Future studies on literary educational methodologies are expected to further examine the enjoyment methods for poems in class discussed herein.

• (The) Research of the performance art and culture
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• no.40
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• pp.111-136
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• 2020

Agricultural high schools are undergoing a change their name from the mid-1950s to the 2000s. Although it varies slightly depending on the case, it has been changed from 'rural forests' to 'agricultural farms' or 'agricultural industries' and 'life sciences high schools' in turn. In several aricultural high schools had managed Nongak Department(class), it's guarantees the continuity of Korea's traditional folk art. Examples include entertainment and farming in Honam region of Jeonju aricultural high School in North Jeolla Province, Geumsan aricultural high School in South Chungcheong Province, Gimcheon aricultural high School in North Gyeongsang Province. Therefore, the interpretation and significance of studies should follow. This method of Nongak education in modern school institutions is a new phenomenon in the history of Nongak after modern time, the emergence of a whole new pattern of professional entertainment Nongak after paving and Female-Nongak, as well as local traditional folk music. Education here was conducted in such a way that the best performers of the time were invited as guidance teachers among traditional folk artists. Thus, various local and professional music and entertainment were able to be promoted Apart from the social relations of delay, social progress, and economy, the education of farming and music, which consists of teachers and students in public schools, has provided an environment where unlimited freedom is allowed for art forms. In other words, the conditions for a new performance style experiment and creative fusion were met, and the foundation for the development of professional musical performers who had acquired individualized talents from previous generations was laid down in the context of the phenomenon of active stage music and theater performance of outstanding in the culture of Nongak. In other words, the Department of Agriculture and aricultural high school was a very free space compared to other communities' and economic community's agricultural music in social relationships bound by traditional cultural customs. This is why they have created a new style of performance through a new experiment and a different traditional performance repertoire, and their activities have led to a more stylistic expansion from traditional farming. More importantly, the figures who came across Agricultural Nongak department became the main experts of traditional Korean folk music nowdays. Thus, Nongak Department, operated by the Agriculture and Forestry High School, was a space where would give a very important meaning in terms of Nongak history.

• Korean Journal of Heritage: History & Science
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• v.50 no.2
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• pp.94-115
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• 2017

'Arirang folk song in the Democratic People's Republic of Korea' was inscribed to the Representative List of the Intangible Cultural Heritage of Humanity in 2014 and 'Tradition of kimchi-making in the Democratic People's Republic of Korea' followed in 2015. It is presumed that North Korea was influenced by the Republic of Korea inscribing 'Arirang, lyrical folk song in the Republic of Korea' to the list in 2012 as well as 'Kimjang, making and sharing kimchi in the Republic of Korea' in 2013. These cases show the necessity (or possibility) of cultural exchanges between the two Koreas through UNESCO ICH lists. The purpose of this article is to explore the possibility of inter-Korean cultural integration. Therefore, I would like to review UNESCO's ICH policy and examine the ways of cooperation and joint nominations to the Representative List of Intangible Cultural Heritage of Humanity between the two Koreas. First, I reviewed the amendments to the laws and regulations of the two Koreas and how the two countries applied the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage. Although the cultural exchange is a non-political field, given the situation between South and North Korea, it is influenced by politics. Therefore, we devised a stepwise development plan, divided into four phases: infrastructure development, cooperation and promotion, diversification, and policymaking and alternative development. First a target group will be needed. In this regard, joint nominations to the Representative List of the UNESCO Intangible Cultural Heritage of Humanity will be suitable for cooperation. Both countries have already started separate nominations on shared ICH elements to the UNESCO lists. Therefore, I have selected a few elements as examples that can be considered for joint nominations. The selected items are makgeolli (traditional liquor), jang (traditional soybean sauce), gayangju (homebrewed liquor), gudeul (Korean floor heating system), and jasu (traditional embroidery). Cooperation should start with sharing information on ICH elements. A pilot project for joint nomination can be implemented and then a mid-term plan can be established for future implementation. When shared ICH elements are inscribed on UNESCO ICH lists, various activities can be considered as follow-ups, such as institution visits, performances, exhibitions, and joint monitoring of the intangible cultural heritage. Mutual cooperation of the two Koreas' intangible cultural heritage will be a unique example between the divided countries, so its value will be recognized as a symbol of cultural cooperation. In addition, it will be a foundation for cultural integration of the two Koreas, and it will show the value of their unique ICH to the world. At the same time, it will become a good example for joint nominations to the Representative List recommended by UNESCO.

• (The) Research of the performance art and culture
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• no.33
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• pp.59-95
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• 2016

The purpose of this study was to examine the text and musical characteristic of , a changgeuk (a Korean traditional opera), by the National Theater of Korea, which was performed overseas with the title of and recognized its artistic values home and abroad alike, focusing on the process of its rebirth from a lost pansori. A changgeuk was dramatized from a lost pansori into a Korean traditional opera. In the process of rebirth of , the content of latter half, which is the performance of a funeral service for the deceased Byeongangsoe, was deleted, and the contents of Ongnyeo's fight against jangseungs in order to take back Byeongangsoe was newly inserted, thus creating textual changes. In addition, as the title presents, Ongnyeo is no longer a conventional lewd woman, but a subjective and independent female who is fighting against fate, different from its original perspective in which the leading character is Byeongangsoe. All the sounds of a changgeuk were made by the creative technique of traditional Korean songs through various attempts, such as inserting chords between performers in order to present most appropriate songs for the opera, namely proper sounds for the hidden side of the opera. In addition, according to the change of mind of performers or characters, the tone and vocal sound of the song were different. In particular, a changgeuk attempted a variety of techniques in the accompaniment of music, and used many sound buks or diverse genres such as popular music, waltz, classic and folk songs of every province, thus presenting challenging attempts. These attempts made the opera more abundant and helped it to be expressed realistically and dramatically. As above, the contents of a changgeuk were borrowed from classical narrations, but its musical aspects got off the technique of traditional changgeuk, thus attempting various changes and techniques. In this vein, it presented a novel modality of changgeuk equiping with the characteristic of 'reviewing the old and learning the new,' thus proposing the directivity and possibility of changgeuk in the present society.

• (The)Study of the Eastern Classic
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• no.68
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• pp.539-570
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• 2017

This article is for considering and looking through the meaning of Classic of Poetry(Shi jing) Hiku-ka of Kobayashi Issa before reviewing and adapting Classic of Poetry(Shi jing) in Eastern Asia. Issa wrote his works by using Hyanghwa-Gucheop in 1803, and he had adopted it as his creative works of Hikai absorbing Classic of Poetry(Shi jing) for about half a year. There has been no national study about this so far, and this study covered the aspects of Issa's adapting way of Classic of Poetry(Shi jing) in Japan and China. There have been several problems that the contents were limited to Guo-feng and there were no agreement of terminology as well among researchers. To overcome these limitations, therefore, this article aimed at all the works, rejected the view point as just a translation, and denominated this study as Haiku-ka. Above all, this study looked though Issa's Classic of Poetry(Shi jing) by splitting the aspects of Haiku-ka into borrowing topics and materials. In borrowing topics, the works with the topics of homesick and nostalgic parents stood out. Furthermore, annotations and understandings of Issa's original works were deeply involved. In borrowing materials, the original meanings in the works were transformed and changed or even reinterpreted by their own way. Eliminating sublime emotions, furious tone, and condemnation was main characteristic of Haiku-ka in Classic of Poetry(Shi jing). Besides, there were ways of exclusion of reasoning, deviating from the viewpoint of Sigyo(edification by poetry), not including moral senses. In other words, Issa used habits and impressions like the way of Haiku when he was doing Haiku-ka in Classic of Poetry(Shi jing). The meaning that Issa's Hiku-ka of Classic of Poetry(Shi jing) stood out compared to adaptation of Classic of Poetry(Shi jing) in Eastern Asia. Although Classic of Poetry(Shi jing) in Vietnam was transferred in the form of the poem in Vernacular, the meaning and contents were not changed. Moreover, the original works and characters in Joseon were not destroyed because Classic of Poetry(Shi jing) was not liberally translated but literally. However, Issa transferred the Classic of Poetry(Shi jing) in the form of the poem in Vernacular to reveal the value of popular ballads. This was a different adapting way of Classic of Poetry(Shi jing) from that in Eastern Asia.

• (The) Research of the performance art and culture
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• no.39
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• pp.279-323
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• 2019

The musical characteristics of Fishing songs in North Korean which recorded on Anthology of North Korean Folk Songs were examined in this paper. The results are as follows. Among Fishing songs in North Korea, there are "Rowing Song," the "Song for Hauling Nets," and the "Song for Picking Up Fish" in songs related to walleye pollack fishing and in songs related to croaker fishing, the "Song for Dropping Anchor" and the "Full-Load-of-Fish Song" in songs related to croaker fishing, the "Song for Weighing Anchor," the "Song for Shaking Fish," the "Full-Load-of-Fish Rowing Song," and the "Song for Hanging Walleye Pollack" in songs related to walleye pollack fishing. There are the "Song for Setting a sail" and the "Song for catching shells" in Fishing songs in North Korea, too. In the rhythmic elements of Fishing songs in North Korea, the tempo of the "Songs for Setting a sail" is moderato, and that of the "Songs for Picking Up Fish" of songs related to anchovy or herring fishing is quite slow. "Rowing Songs"(croaker fishing) have various tempos but faster than moderato, and usually get faster and faster as time goes by. Most songs have 4/♩. time and there are some of 2, 3 or 5 time. Some songs use irregular time or 6 time overlapping 2 beats. The mode Menari is the most common tonal system used in fishing songs of North Korea. And the mode Susimga, the mode Changbutaryeong, the mode Nanbongga, and the mode Odolttogi are also used in the tonal system of Fishing songs in North Korea. There are shoutting intonations that have indefinite pitch, too. Modulation or interaction by the mode Changbutaryeong appeared in songs of the mode Menari. There is a tendency to favor a certain tonal system by category. Responsorial form is mostly used, but in the most cases, they were sung in solo. In responsorial songs, several calling songs overlap with the responding songs. Durchkomponiert form is sung by antiphon or in solo, but the case sung in solo originally seems to have been sung by antiphon or unison, if we consider the procedure of the work. The "Song for Picking Up Fish" of Seonbong-gun of North Hamgyeong Province and Yangyang-gun of Gangwon Province, the "Full-Load-of-Fish Song-Bongjuktaryeong" of Jeungsan-gun of South Pyeongan Province and "Full-Load-of-Fish Song-Baechigisory" of Taean-gun of South Chungcheong Province, "Rowing Song" of Nampo City and Ganghwa-gun of Gyeonggi Province are resembled. In neighboring areas, even if the songs of different categorys, sometimes share a same melody. In a certain category, sometimes a same melody is shared to a considerable distance. It was first identified that in anchovy or herring fishing or dybowskii' sand eel fishing, the "Song for Picking Up Fish" is widely shared in the East Sea Coast area.

• (The) Research of the performance art and culture
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• no.38
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• pp.249-275
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• 2019

Gangneung farm song is important for the ritualistic labortheatricals. Especially, in the theatrical process program, the songsof weeding, such as Haksan Odokkteggi and Ssadae, were alsoincluded to represent the agricultural ritualistic prayer for goodharvest. The use of Gangneung farm song is attractive in termsofthe circumstances. There is no chance of success as a plan simplyfor local events. As a comprehensive art, Gangneung farmsongshould simultaneously revitalize locality, representability andglobality. In this context, three directions are suggested dependingon the development progress. The second direction to the thirddirection are mainly oriented toward government-local authoritycentered support, but, in particular, the third direction should aimtobe an open archive in which the public and the contents prosumercan participate. In the production of the traditional content, OSMUmust be endlessly recreated and spread through 'diversity' and'interrelationships'. The contents utilization was discussed based on the transmissiondetails and analysis evidence of Gangneung Haksan Odokttegi. Thediversification of the way of performing farm song and the folk songs that can induce interest were proposed. Furthermore, basedon the fact that 12 songs classified into 8 work types, there-creation of the contents that focus on the playful aspect of theperforming arts was also proposed. In addition to suggestingthedesirable discourse of the performance groups, the experienceprogram development, education, public relations andcommunication reinforcement based on the narrating principlesoffarm songs, and the development and execution of farmsongprograms based on the tradition and the event demands wereproposed. While mentioning the necessity of value creation, thevitality of performing arts skills that put emotion, imagination, fun, sympathy, and etc. on the original form and the model of farmsongs should be supplemented to Gangneung Haksan Odokttegi. The independent transmission aspect of Gangneung Arirangisalso positive. There are difficulties of reduction of traditionalitydueto the designation, standardized transmission, lack of developmentof voluntary performances, and demonstration-centeredtransmission. Narrowly, we focused on the education andvitalization directions in terms of the capacity building of theconservation council itself. By embodying the essential value of theagricultural literature that farm songs possess, it can bringimpression of all worlds, all lives, communication and sharing, anddraw inspiration from the humanistic view of the world andemotion. The reconstitution of agricultural heritage, theconstruction of a storytelling linked with the concrete objects suchas Beomil National Preceptor, Gulsansa, FlagpoleSupport(Dangganjiju), Seokcheon, Hakbawi rock, and etc., andtheestablishment of fusion type farm song museum were proposed. In terms of culture industry, we requested active support fromtheinstitutions including local governments and various farmsongstorytelling creation projects.

• (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.

• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.172-187
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• 2019

Knowledge of intangible cultural heritage is usually disseminated through word-of-mouth and actions rather than written records. Thus, people assemble to teach others about it and form communities. Accordingly, to understand and spread information about intangible cultural heritage properly, it is necessary to understand not only their attributes but also a community's relational characteristics. Community members include specialized transmitters who work under the auspices of institutions, and general transmitters who enjoy intangible cultural heritage in their daily lives. They converse about intangible cultural heritage in close relationships. However, to date, research has focused only on professionals. Thus, this study focused on the roles of general transmitters of intangible cultural heritage information by investigating intangible cultural heritage communities centering around Jeongseon Arirang; a social network analysis was performed. Regarding the research objectives presented in the introduction, the main findings of the study are summarized as follows. First, there were 197 links between 74 members of the Jeongseon Arirang Transmission Community. One individual had connections with 2.7 persons on average, and all were connected through two steps in the community. However, the density and the clustering coefficient were low, 0.036 and 0.32, respectively; therefore, the cohesiveness of this community was low, and the relationships between the members were not strong. Second, 'Young-ran Yu', 'Nam-gi Kim' and 'Gil-ja Kim' were found to be the prominent figures of the Jeongseon Arirang Transmission Community, and the central structure of the network was concentrated around these three individuals. Being located in the central structure of the network indicates that a person is popular and ranked high. Also, it means that a person has an advantage in terms of the speed and quantity of the acquisition of information and resources, and is in a relatively superior position in terms of bargaining power. Third, to understand the replaceability of the roles of Young-ran Yu, Nam-gi Kim, and Gil-ja Kim, who were found to be the major figures through an analysis of the central structure, structural equivalence was profiled. The results of the analysis showed that the positions and roles of Young-ran Yu, Nam-gi Kim, and Gil-ja Kim were unrivaled and irreplaceable in the Jeongseon Arirang Transmission Community. However, considering that these three members were in their 60s and 70s, it seemed that it would be necessary to prepare measures for the smooth maintenance and operation of the community. Fourth, to examine the subgroup hidden in the network of the Jeongseon Arirang Transmission Community, an analysis of communities was conducted. A community refers to a subgroup clearly differentiated based on modularity. The results of the analysis identified the existence of four communities. Furthermore, the results of an analysis of the central structure showed that the communities were formed and centered around Young-ran Yu, Hyung-jo Kim, Nam-gi Kim, and Gil-ja Kim. Most of the transmission TAs recommended by those members, students who completed a course, transmission scholarship holders, and the general members taught in the transmission classes of the Jeongseon Arirang Preservation Society were included as members of the communities. Through these findings, it was discovered that it is possible to maintain the transmission genealogy, making an exchange with the general members by employing the present method for the transmission of Jeongseon Arirang, the joint transmission method. It is worth paying attention to the joint transmission method as it overcomes the demerits of the existing closed one-on-one apprentice method and provides members with an opportunity to learn their masters' various singing styles. This study is significant for the following reasons: First, by collecting and examining data using a social network analysis method, this study analyzed phenomena that had been difficult to investigate using existing statistical analyses. Second, by adopting a different approach to the previous method in which the genealogy was understood, looking at oral data, this study analyzed the structures of the transmitters' relationships with objective and quantitative data. Third, this study visualized and presented the abstract structures of the relationships among the transmitters of intangible cultural heritage information on a 2D spring map. The results of this study can be utilized as a baseline for the development of community-centered policies for the protection of intangible cultural heritage specified in the UNESCO Convention for the Safeguarding of Intangible Cultural Heritage. To achieve this, it would be necessary to supplement this study through case studies and follow-up studies on more aspects in the future.