• (The) Research of the performance art and culture
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• no.35
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• pp.61-92
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• 2017

During the Japanese colonial era, traditional music performances were gradually diminishing and weakening in the particular condition of colonization. Meanwhile, from the time of enlightenment, Western genre performances were becoming vitalized with the influence of Western civilization that began to be spread steadily throughout the society. In that situation, traditional music performances tended to be mixed performances accompanied by Western ones, not independent performances. Mostly, they were accompanied by Western music, and also, they were performed along with other genres like plays, lectures, movies, dances, or magic, too. Such form of mixed performances accompanied by Western genres became even more vitalized in the 1920's and came to be positioned as a form of traditional music performances. Therefore, research on the forms of mixed performances between Western genres and traditional music is meaningful in examining the forms of traditional music performances that have not been studied in the history of Korean modern music and understanding the trends of traditional music performances which were generally found in the Japanese colonial era. However, such research has hardly been conducted concretely yet. Accordingly, concerning the forms of mixed performances between Western genres and traditional music in the 1920's, this author considered the background of vitalizing mixed performances between Western genres and traditional music mainly with newspaper articles of the time and their formal characteristics. Regarding the background of vitalizing the forms of mixed performances between Western genres and traditional music, from the 1920's, the forms of mixed performances between Western genres and traditional music became more vitalized than before. The causes of that may include the increase of groups hosting or sponsoring such performances from the 1920's and also the dramatic increase of such performances in general. Moreover, the increased performances were conducted in the forms of mixed performances mainly in order to satisfy the people's needs becoming diversified with the distribution of Western civilization. Concerning the formal characteristics of mixed performances between Western genres and traditional music, this researcher classified western genres performed with traditional music and examined what characteristics were found in such mixed performances of tradition music by the types of Western genres respectively. First, in the mixed performances type of western-type genre and traditional music, the number of programs for the western music had significant portion in general, and there were certain ensemble of the western music and traditional musical instrument that was rare at this period of time, and it also had the characteristics of classifying two genres to perform for each title or date. Second, in the mixed performances type of the drama and traditional music, the traditional music is directly participated in the drama with the similar type to the theater, or performed independently from the drama with the role of interlude performance for the stage conversion of the drama to have the characteristics of performing in audience publicity or entertainment. Third, in the mixed performances type of the lecture and traditional music, the traditional music is played before or after the lecture to play the role to set the atmosphere and entertainment for the lecture as displaying the feature to perform for the audience attraction. And, fourth, in the mixed performances type of the movie and traditional music, the traditional music sometimes directly participated in the movie or had the features of independent performance, and there was a characteristic to perform for the entertainment after showing a movie.

• (The) Research of the performance art and culture
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• no.36
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• pp.603-647
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• 2018

During the Japanese colonial era, Chosun Central Young Men's Christian Association Hall, Gyeongseong Public Hall, or Bumingwan was used as multipurpose space where various performances or events were held. Although traditional music performed in each of the places did influence the remaining of traditional music in existence as well as the vitalization of traditional musicians' activity, since these places were mostly for Western music or other genres, no research has been carried out to study the performance of traditional music there in detail. The purpose of this study is to understand the aspects of performing traditional music in multipurpose places mentioned above. Reviewing newspaper materials of the time, this author has examined the aspects of performing traditional music in each of those places in terms of the forms of performances performance programs performers as well as performing groups the aspects of development. First, this researcher considered in what forms traditional music was performed in each of the places mostly. About performance programs, this author divided them into instrumental music, vocal music court music, and folk music. Regarding performers, this study divided them into instrumental music and vocal music professional performers and unprofessional performers male and female master singers and gisaeng and figured out the importance of each of them in different places. Also, concerning the appearance of performers and performing groups, this researcher studied how it was associated with the space, and about the aspects of performance, how it was developed in different periods was examined. In that process, this author has learned that the aspects of performing traditional music in the space were significantly influenced by the characteristics of each space and has clearly and concretely understood performing programs as well as the aspects of performers and groups' activity. With this research as an opportunity, this author expects that research will be actively conducted on the performance of traditional music in each of the places that have not been studied yet and it can contribute to figuring out the development or trends of performing traditional music during the Japanese colonial era.

• (The) Research of the performance art and culture
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• no.19
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• pp.281-315
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• 2009

Korean traditional music has been a process art which has been changed and re-created by musicians to mirror the musical aesthetics of contemporary people. Form court music, which has tried to keep the "authentic" form as much as possible, to folk music, which is closely associated to the people's life style, traditional music has expressed the life of the Korean people. From the early 20th century, traditional music faced a totally new music culture due to the Japanese annexation and rapid westernization. A new music network was established by modern theater and broadcast system. Many gayageum (12-stringed zither) masters were able to develop their own music in this new music culture. Female musicians came to exist because of a new music education system, called gwonbeon (school for female entertainers). Due to the rapid westernization, traditional music was becoming 'extinct'. The government's new system of Intangible Cultural Heritage tried to preserve traditional culture. Traditional music came to revive but became fossilized in order to preserve the 'archetype'. The so-called Living Human Treasures took power and became a social problem. The modern school education system was one of major factors for promotion of traditional music. However, it became one of main reasons for musicians to lose their musical creativity. Today, many performers and composers try to make a new composition and renovated musical instruments to suit the contemporary musical aesthetics.

• (The) Research of the performance art and culture
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• no.33
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• pp.223-242
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• 2016

The Korean $taeg{\breve{u}}m$, a horizontal bamboo flute, is considered a representative wind instrument of Korean traditional music. Symbolized by its unique timbre and diverse techniques, this instrument transmits the beauty of Korea, and has become acknowledged even in international music scenes. Being a $taeg{\breve{u}}m$ player, composer, and ethnomusicology researcher, I have developed creative collaborations with musicians from Asian, electro-acoustic, jazz, and Western art music traditions developed outside my country of origin and tried to overcome musical boundaries through the 'intercultural performances' (after Turner 1988). Zooming in one collaboration, I detail the process of music creation and performance, collaborating with prominent Korean composer Kim $Taes{\breve{o}}ng$ (b.1967), who was commissioned by myself to write two compositions for the $taeg{\breve{u}}m$ and Western art music. The purpose is twofold: firstly, the modernization and appropriation of the Korean flute is briefly tracked down within the context of Western Art music. Secondly, a performance project is illustrated with the support of technical apparatuses such as DVD and CD recordings and delves further into the question of the 'cultural relativism' (Michael Tenzer, 2006: 7) through the interactive process. The performance-as-research, as a tool 'actualizing' (Richard Schechner 2003: 32) the hybridity, touches on critical domains in Ethnomusicology. The corresponding two parts discover, as Alan Merriam's(1964) 'tripartite model' suggests, the 'context' of Korean and Western cultures, the 'behaviour' of collaborating and performing and the 'sound' of improvised and composed productions in the course of music making.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.88-99
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• 2016

Traditional Performing Arts is a key element of national competitiveness that represents the identity of a country. Preserving traditional performing arts such as traditional culture overall aggregate such as literature, art, music, dance, theater and enable it to meet future national culture is to secure a competitive brand. Meanwhile, it shrouded in advance global success of K-pop and TV content, such as our popular culture, but our traditional performing arts sector, there has been a steady effort to receive the attention of the world and expanding capacity and performance. Now, this point will be a new policy approach needed to expand more popular in both domestic and world demand in traditional performing arts. In this study, we propose a strategic plan to raise the popularization and industrialization of our own needs and unique traditional performing arts opportunities for successful overseas expansion and promotion of the content of traditional performing arts.With the help of information technology.

• (The) Research of the performance art and culture
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• no.32
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• pp.269-305
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• 2016

in the conclusion, appealing ways of expression regarding a wider and more variated range are to be tested and it is stressed the necessity of this to be shown to the general public through an ongoing constructive research on the originality of contents arising from the diversity of music genres And, concerning dance music, it is also pointed out the necessity of in-depth research on the rhythms that take into account the universal emotions of the general public to create diverse music that harmonizes with the dance and can be enjoyed by all. In the world of music, just a simplest attempt can bring about many changes. Depending on the identity of those who lead it, that change's appearance or shape may also be different. Moreover, changes arisen from testing simplified rhythms will let experts to create new music. K-Pop is to test, more than anything, diverse strategies and new changes to be selected by such a wide public. However, such changes ought not to degenerate into mere imitations and can neither become obsolete. The reason lies in the fact that the current efforts for the sake of diversification and creativity of K-Pop genre might well remain as the traditional elements of the K-pop of the future.

• Proceedings of the KSLP Conference
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• 2003.11a
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• pp.138-138
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• 2003

판소리는 극적인 어느 한 줄거리의 이야기를 창자와 고수가 같이 하여 소리 아니리 발림 등으로 표현하여 청중을 웃기고 울리는 공연적인 성악곡이다. 판소리의 예술세계에서 가장 깊은 내면세계와 미학적인 접근을 위해서는 음악적 관점에서 접근해야 한다. 하지만 음악적 기록이 전무한 판소리의 음악적 연구는 실제 소리의 채보에 의한 분석 연구가 필요한데 그 첫 장벽인 채보의 방법론적 검토가 없이 이루어진 주관적인 작업은 보편적인 설득력을 얻기에 부족하다. 우리나라의 전통음악은 전승방법이 서양음악과 달라서 음악의 기준이 되는 악보로써 전승되지 않고 구전으로 이어져 왔다. 따라서 채보에 대한 방법론적 연구는 판소리 뿐만 아니라 산조, 민요 가곡 등 구전으로 전통을 이어온 우리나라 전통 음악을 기술하고 분석하기 위해서 가장 먼저 해결해야 할 문제이다. (중략)

• Proceedings of the KSLP Conference
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• 1997.11a
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• pp.254-254
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• 1997

서양음악을 전공하는 숙달된 가수들은 공연시 효과적인 소리의 울림현상을 생성하여 노래소리가 잘 전달되는데 이는 노래소리에 대한 음악 음형대의 형성에 기인한다. 그러나 판소리의 일반적인 창법은 발성중 적절한 감정의 삽입과 더불어 아주 깨끗한 소리보다는 적절하게 탁음을 조화시키므로서 우리민족의 정서에 맞는 감정을 전달하는 것으로 판소리 가수만이 가지는 독특한 발성법에 의해 성대의 과다한 접촉 및 진동에 의해 병변이 초래되며 심한 경우 발성기관에 병적인 병변이 발생하여 치료를 요하는 경우도 많다. (중략)

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.165-175
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• 2011

The purpose of this research is to investigate the possibility of creating new theatrical contents by performance anthropological approach. Today's traditional performing arts are historically descended and developed in the forms of Ahk, Hee, and Geuk. Among those, Dongrae-yaru is a traditional mask dance, handed down in Dongrae, Pusan and appointed as the 18th intangible cultural asset. Its performance is carried out in the juxtaposition of Ahk, Hee, and Geuk. Korean theatre in the 21st century seems going back to realism after going through post-modern cultural phenomenons. However, the quest for alternative theatre is raised higher than ever. As a part of this strive, this paper asserts the traditional performing arts should be investigated as an alternative and new theatrical form. Among those traditional performing arts, Dongrae-yaru is selected for its well balanced combination of Ahk, Hee, and Geuk. The study examines in depth how each element of Ahk, Hee, and Geuk, they are expressed in forms of folk music, refined dance, jest, satire, wit. Its investigation on the stage adaptation provides the possibility for the new style and codification as the new theatre contents.

• The Journal of the Korea Contents Association
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• v.21 no.1
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• pp.55-65
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• 2021

The purpose of this study is to explore whether entering the overseas market can be an opportunity in overcoming the limitations of the single profit structure in which the traditional performing arts industry relies on public support. To this end, we applied the concept of industrial value-chain and business model and divided the overseas market entry process into four stages-preparation, promotion, harvest, and follow-up. Based on three case-studies that actively pursued overseas market development with market-oriented thinking in the field of traditional music, the relevant entry model of overseas market for the Korean traditional performing arts industry was suggested. Although the overseas market is not yet a major source of revenue, the traditional performing arts teams searching for profit diversification can consider the overseas entry model derived from this study. Also as found in case studies, the Korean government should establish an institutional system to foster planning and distribution experts in charge of overseas markets for the traditional performing arts, and develop a long-term information provision program away from the one-time expense support.