• Communications of Mathematical Education
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• v.24 no.4
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• pp.923-937
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• 2010

Explain concretely how to apply some integer ratios in making Eastern and Western notes, and show numerically that the chromatic scale coming from the upholding Pythagoras method in Western and the Sambunsonikbub in Eastern are perfectly equal even if they are far from geographically.

• The Journal of the Acoustical Society of Korea
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• v.20 no.6
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• pp.3-8
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• 2001

The pitch of Korean musical scales and intervals were calculated with the method of a One Third More and Less, that described at the AcHacKueBum. In this study, the standardized Peelee have been made and its sound frequencies were measured. The measured sound frequencies uniformly played agree well with the Korean musical scales.

• Proceedings of the KSLP Conference
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• 1995.11a
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• pp.79-87
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• 1995

소리를 학문적으로 다루기 시작한 것은 상당히 오랜 옛날부터였는데, 중국에선 황제가 영륜을 시켜 곤륜산 해곡죽을 꺽거 12음률관을 삼분손익법으로 잘라 음계를, 또 고대그리스의 피다고라스(Pythagorean)은 수학적인 방법으로 피다고라스음계가 창안되고 있었으나, 그것의 과학적인 기초가 연구 확립되기 시작한 것은 비교적 근대의 일로서, 1635년 메르센느(Mersenne)는 음속을 측정하였으며, 현의 진동의 법칙(현의 진동 중 기본진동에 관해서만)을 발견했다. 또 1738년 불란서 학사원에선 공기중에서의 음속을 측정한바 있었으며, 19세기에 이르러 헬름홀쯔(H. Helmholtz)와 레일리(L. Ragleigh)에 의하여 소리의 물리학적인 현상에 대한 이론적인 기초를 대성하여 금일의 음향학의 기초를 확립시키게 되었다. (중략)

• Communications of Mathematical Education
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• v.26 no.4
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• pp.339-349
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• 2012

Integer ratios 1:2:3:4 are very important in making eastern and western musical scales. Suggest an educational program of Mathematics in middle school which shows how to make an musical instrument and musical scales by Euclidean constructions. It explains for Mathematics how to make musical notes.

• Industry Promotion Research
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• v.7 no.1
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• pp.59-74
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• 2022

There are three main ways to interpret Zhouyi(周易). The first is to interpret it as a number, the second is to interpret it as an image symbolized by the Gwae(卦), and the third is to interpret it as the moral reason contained in it. Although YulRyeo(律呂) is not as widely known as Zhouyi, its use in ancient times was the same as that of the main character. First, the mathematical analysis method using the three-pronged method for tuning musical instruments, second, the symbolic interpretation using the musical meaning symbolized by YulRyeo, and third, the applied interpretation method that expands to the moral reason contained in YulRyeo. The purpose of this thesis is to organize the dictionary meaning of YulRyeo and various meanings of ancient YulRyeo. In addition, by studying ancient literature on the meaning of YulRyeo's magic spell mechanics(術數易學) and Naepeum and Five Elements(納音五行), which is the origin of Gobeop Myongriology, I classify and interpret them in detail. and to find ways to apply it to Myongriology. It is hoped that this study will give a more in-depth understanding of YulRyeo and will be of little help to related studies such as the mechanics of magic and Myongriology studies in the future.

• (The)Study of the Eastern Classic
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• no.62
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• pp.291-319
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• 2016

The purpose of this study is aesthetical inquiry on agreement inherent in the 'Pyeongkunyul of "Siakhwaseong" "Yulryo" is to have come from the 'Taekuk'. as the structure of 'Yumyaungdaedae' which 'represents a "Dosu". it becomes "Habsanweil" and it consists of "HwangjongYul" on it. There are two kinds of ways to "Pyeongkunyul" and "Sambunsonikyul". "PyeongkunYul is characterized by soundly solving the challenges of the "Jueibulban". "Yulryo" is to pursue a 'Hwa' through that "Eum" response each other. The human ear to listen to "Yul" and can be divided "Yul" because the same "Eum" is to meet with one another. The other two 'Eum' at the same time the "Maeknory" is caused by the ratio of the frequency. because "Hwaibudong". In the "DongEum" and 'octave of Eum' is not a "Maeknory" when listening ear of a person 'Dong'. In contrast, "Hwa" is a sound relationship revealed in "12Yul" in "Dong Eum" with the exception of 'octaves of Eum', that is the most easy to hear 4Do(5Do) at "Yulryo" From the point of view for "Joenchecaeyong", 4do forms a pure sound there is no Maeknory, such as "Dongeum", only partial ones in the "12Yul" by "Sambunsonik". 4Do(5Do) in "Pyeongkunyul" although though the "Maeknory" of about times put to 3 seconds to occur, so that makes the perfect "Hwa" in all of the "12Yul" "Yulryo" is apparent to the sound. "YangYul" and "Eumryo" that began from "Taekuk" which must be extended to the same "Eumga" Therefore "12Yul" consisting "Pyeongkunyul" is based on the "Yackry" of "Habsanweil" As a whole to achieve the overall Harmony and based on the As aesthetical on agreement inherent of "Hwa".

• The Journal of the Acoustical Society of Korea
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• v.25 no.3
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• pp.121-128
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• 2006

Korean pyeongyeong, a set of sixteen L-shape chime stones covering one and one third octaves, is a standard instrument in the Korean traditional court music. We analyze the vibrational mode frequencies in a pyeongyeong replica which is played at the National Center for Korean Traditional Performance Arts and pyeongyeong remains which are exhibited at King Sejong Memorial Museum. The modal shapes on the Whangjong, the 1st stone and Cheonghyurjong, the 16th stone mapped by scanning accelerometer, TV holography and STAR system. The nominal frequencies in pyeongyeong replica at the National Center for Korean Traditional Performance Arts increase linearly with the thickness of the stones and the tones are tuned in line with the musical scale of Sambunsonik. The sexagenary cycles on the pyeongyeong remains at King Sejong Memorial. which show the Year of product indirectly, are different each other and the tones are not tuned in scale. The relative frequency ratios of each modes on stones differ more than just-noticeable differences from those on the pyeongyeong replica. Modal shapes are same for the two stones regardless of the thickness.

• The Journal of the Acoustical Society of Korea
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• v.30 no.8
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• pp.421-427
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• 2011

This study aimed to figure out the numbers and note distributions and sexagenary cycles of old pyeongyoungs systematically, and estimate the nominal frequency of whangjongeum, the Korean tradition pitch standard. As a total 214 old stones in the National Palace Museum, the National Kukak Center, the Kukak National High School were counted by notes and sexagenaries. The nominal frequencies of 17 old whangjong stones' sounds were categorized by cluster analysis method. Using nominal frequencies of stones according to their sexagenaries and Korean traditional intonation were used to estimate the nominal frequencies of the whangjong. The nominal frequency can be estimated by 22 Keychuk stones as 266.9 Hz, by Cheongyu and Gabja stones as 262.4~262.5 Hz, and by Gabjin, Sowha 12 and Sowha 13 as Estimating by 22 Kyechuk stones which were matched with the records. These results seem to be more reliable, because it is based on the whol samples of old pyeongyoungs, while the former studies have been based on couples of whangjong stones' sounds.