• 한국디지털정책학회:학술대회논문집
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• 2005.11a
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• pp.243-249
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• 2005

정보화가 발달할수록 데이터량은 증가한다. 21세기 정보화 시대가 말그대로 정보의 홍수속에 살게 될 것이다. 지금은 영상미디어 시대이다. 초고속인터넷시대는 향후 처리해야 할 정보가 단순 텍스트 데이터가 아니라 정보의 관리에 어려움을 가져왔다. 또한 인터넷이란 새로운 실시간 데이터 관리가 필요한 상황에서 고객의 어려움도 커져가고 있다. SAN(Storage Area Network)과 NAS(Network Attached Storage)는 가상화스토리지 전문기업 뿐만 아니라 이종 업체에서의 제안이다. 즉 NAS를 정의하는 방향도 다르다. 우선 서버 어플라이언스로 보는 업체로는 컴팩, IBM의 x시리즈, 마이크로테스트, 액시스 등이 있으며, IBM, 씬, EMC, 네트워크 어플리이언스, 히타치데이터시스템 등 전통적인 가상화스토리지 업체는 이를 가상화스토리지 네트워크의 한 아키텍처로 보고 있다. 이외에 맥스터, 퀸텀 등의 HDD업체들은 이를 네트워크에 연결할 수 있는 하드디스크로 보고 있다. 또한 네트워크 장비 업체인 3Com, 넷기어 등의 NAS제품을 보이는데 국내업체는 전무한 편이다. 예전에 우리가 포기한 고부가가 가치제품인 서버 스토리지 분야를 놓치면, 결코 국민소득 $2{\sim}3$만불 타령을 해야 아무런 소용도 없고 선진국에 기술 종속만 될 뿐이다. 그러므로 우리가 IT강국이라고 하는 데는 반성을 하여야 한다.

• (The) Research of the performance art and culture
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• no.41
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• pp.285-320
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• 2020

This study aims to examine the processes of changes of the two main roles, Sangjwa(the young Buddist monk) chum and Omjung(the monk with a boil on his face) chum, performed in Yangju Byeolsandae Nori, on the basis of Chumsawi (dance-movement). Above all, having studied many artistic remains performed by Jo jong sun, Jung han gyu, Park jun seup, Kim sung tae from 1929 to 1942, two main roles, in which Geodeureum chum is now an essential part in almost all performances, were then played only in Kkaekki chum to Taryong Jangdan without performances of Geodeureum chum. In case of Sangjwa chum, players had performed ad libitum and without restraint only on the basis of five sorts of Kkaekki chum's movements. In Omjung chum, witty remarks along with the drama had become more important factors than dances. Let alone two main roles, other parts then also showed no big changes in dance performance. Performers just tried to maintain its slender existence within stifling atmosphere because of oppressions and restraints during the Japanese imperialism. After the restoration of independence in 1945, Kim sung tae and his disciples made a great effort on the restoration of Talnori. During the Korean war, many players also endeavored to keep a good track of Talnori, teaching and training their young followers. Especially performers such as Park jun seup, Park sang hwan, Kim sung tae, and Lee jang sun put much more efforts on restoring Talnori. From that time, Geodeureum chum began to appear in two main roles' performances. In Sangjwa's performances, Byeogsa ritual dance, which was performed to Taryong Jangdan, changed into performances to Yeombul Jangdan, and Kkaekki chum -originally slow and ritual dance, became very fast and active one. Geodeureum chum, called Yongteulim, was added in Omjung chum, so that dance had more important role in performance. Even at this time, dance movements were not clearly and completely organized and arranged, because Geodeureum chum's performance was not clearly defined as orderly dance movements but was regarded as just a movement. After Geodeureum chum being designated as a cultural treasure, Lee byeong kwon took over the task from Park sang hwan, Sangjwa chum's performer, so Geodeureum chum became much more well organzied, arranged and orderly. Geodeureum chum played by Sangjwa had almost the same order of scenes and movements as Geodeureum chum played by Yeonnip. Based on this performance, the order of dances and movements was consistently arranged and settled. Following Park jun seup's performances, Jangsam was more widely applied and used in Omjung chum than ever before, so Omjung chum became much more organized and arranged. Well-arranged Omjung chum had also almost the same dances and movements as Nojang chum's. Yeonnip and Nojang's performances were not directly and intentionally studied and applied to two main roles in Yangju Byeolsandae Nori. Players seemed to borrow those parts naturally through many times of performances. Through their persistent efforts, Jangdan and dance movements have more clearly and completely been organized, establied, and improved through many years' performances. And dance movement can be performed exactly to Jangdan, so we have more complete and orderly types of dance movements. Thanks to many performers' efforts, Sangjwa chum has been established as one that only top performer can play, and Omjung chum has become an integral part in Yangju Byeolsandae Nori.

• Korean journal of applied entomology
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• v.43 no.2
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• pp.123-127
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• 2004

This study was conducted to determine the effect of food combinations of leguminous seeds on the nymphal development and adult fecundity of Riptortus clavatus Thunberg. Nymphal duration ranged from 20 to 28 days depending on food combinations with the shortest on the seed of soybean (Glycine max Linnaeus), soybean + kidney bean (Phaseolus vulgaris Linnaeus) and soybean ＋ peanut (Archis hypogaea Linnaeus) and the longest on the seed of kidney bean. Instar duration was longer with increasing instar from 2.4 to 2.5 days in the 1st instar to 5.3 to 7.3 days in the 5th instar Accordingly, instar duration was significantly different on food combinations exception of 1 st instar Percent emergence varied from 3.5％ on peanut to 65.0％ on the seed of soybean ＋ peanut. Nymphal mortality was the highest in the 1 st instar regardless of food combinations. Adult longevity was in range of 5.5 days to 11.2 days which was the shortest on the seed of kidney bean+peanut and the longest on soybean ＋ peanut and was about 8.0 days on the other food combinations. Total number of eggs laid by female was most on soybean+peanut and was least on kidney bean ＋ peanut. Accordingly, it can be recommended that food combination of the seed of soybean ＋ peanut was the best and then was soybean only while other food communications of leguminous seeds was hard to use for mass rearing of R. clavatus.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.2
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• pp.205-211
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• 2020

The public knows the singer Shin Haechul as a musician who performs various musical activities as a producer, singer, and songwriter. However, he was also an all-encompassing entertainer who has been involved in different fields of popular media. His musical tendency is very progressive, and he pursues various attempts to create experimental fusion style music. Among his albums, 'MonoCrom' is the result of a combination of unique techno music and traditional music, and this album is known to bring the level of Korean popular music one step further in terms of musical value and meaning towards a new, unique sound. In this album, gukak holds great importance. In addition to the traditional samulnori instruments such as kkwaenggwari, janggu and jing, instruments like daegeum, taepyeongso, pumba and taryeong were used to show more progressive and expanded crossover music through the collaboration with gukak. In order for the current 'K-Pop' to continue to gain worldwide popularity, it needs a new attempt based on musical expandability. Therefore, if gukak is used as in the album MonoCrom, unique and differentiated music will be created, and will continually promote the worldwide interest in 'K-Pop'.

• (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.

• (The) Research of the performance art and culture
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• no.22
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• pp.5-43
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• 2011

Before the Korean War, Korean mask dramas had been performed as parts of seasonal customs and had been passed down in connection with various seasonal events, such as village rites, tug of war, torch fighting, Jisinbabgi(stepping on evil spirits), Gilnori, and Sattonoreum. However, after the Korean War, the dramas were played independently regardless of those seasonal events; thus, they have lost their original functions and meanings. After the Korean War, the lion dance in the Bukcheong lion mask play included two lions (as opposed to one lion prior to the Korean War) and the Aeonesung and Sadang dances were added. The scene in which a lion eats a child changed to a lion eating a rabbit doll. Furthermore, whereas mask types used to be diverse, they are now standardized to one type of lion mask. In the Yangju Byulsandae-nori, eight monks and Waejangnye, Aesadang appeared in 'Aesadang Bubgonori', but now the Malddugi mask character is added. Current performances omit sexually suggestive scenes. In the pre-Korean War version of the old man and old woman act, the old man sang a song to the soul of the dead woman, but now a shaman appears and performs an exorcism. In the dialogues, vulgar and sexual statements have been shortened as many audience members are women and children. Regarding the appearance of the masks, the lotus leaf, the monk with Scabies, and sannim masks have been significantly changed. Bongsantalchum has also changed, especially in the old monk act. Previously, two Somu used to appear whereas now only one appears. The scene of the shoe seller's and the monkey's departure is also different. Furthermore, while the former masks once had big eye holes on each side of the nose, now the masks have smaller holes on the eyes.

• (The) Research of the performance art and culture
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• no.34
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• pp.173-214
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• 2017

This study examines and compares music-related records in the mubo (舞譜; choreography notes) written by Sung Gyeonglin (成慶麟, 1911 - 2008), based on the records of 11 kinds of jeongjae (the music and dance performances at the royal court) found in Lee Byungseong's (李丙星, 1909 - 1960) Changsa and Jungjaecheol (呈才及唱詞綴). Even though these records are personal, they provide valuable information about the mubo of the Iwangjikaakbu (the Royal Music Institute) during the period of Japanese colonization. The eleven kinds types of jeongjae-'Cheoyongmu (處容舞)', 'Hyangryungmu (響鈴舞)', 'Mugo (舞鼓)', 'Bosangmu (寶相舞)', 'Chunangjeon (春鶯?)', 'Gainjeonmokdan (佳人剪牧丹)', 'Suyeonjang (壽延長)', 'Mansumu (萬壽舞)', 'Bongraeeui (鳳來儀)', 'Jangsaengboyeonjimu (長生寶宴之舞)', and 'Musanhyang (舞山香)'-can be largely divided into two types: Dangak (Tang dynasty music) and 'Hyangak (traditional Korean music).' The former is distinguished musically by whether or not the jukganja appears. For the appearance of the jukganja in 'Sujeyongjang', 'Bongraeeui' and 'Jangsaengboyeongjimu', the 'boheojaryung (步虛子令)' was used and given the impressive name of jangchunbullojigok (長春不老之曲).' The term punggyungjigok (豊慶之曲)' was used for music that guides a group dance and dancers. For the latter, hamnyungjigok (咸寧之曲) was performed during the development of the dance, and the pungungyeonghoijigok (風雲慶會之曲) was played at the end of the piece. As for the accompaniment for the jeongjae performed by the Iwangjikaakbu, it is significant that various elaborate names were attached to Sangryungsan, Jungryungsan, Seryungsanm, Garakdeoli, Samhyunhwanip, Yeombulhwanip, and taryung (the traditional Korean ballad), which were all parts of 'Samhyunyoungsanhoesang (靈山會上).' Specifically, the 'Hyangdanggyoju (鄕唐交奏)' in 'Jeongjaemudoholgi' was accompanied by various melodies of the 'Samhyunyoungsanhoesang', which were given extravagant names. These are the personal records of the Iwangjikaakbu mubo that were retained by Lee Honggu (李興九, b. 1940), who owns the 'Hakyeonhwadaehapseolmu.' Among them, the ten kinds of jeongjae found in the notes of Sung Gyeonglin are often referred to as 'mueui (舞儀)' and widely used for research on individual jeongjae performances and the history of their development. The notes of Lee Byungseong have not been investigated thoroughly until now and this is the first study that provides a comparative analysis of the notes of Lee Byungseong and Sung Gyeonglin. This investigation is expected to contribute to the further research and knowledge of the jeongjae performance during the period of Japanese colonization.

• (The) Research of the performance art and culture
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• no.23
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• pp.185-212
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• 2011

Buddhist dance (seungmu) is a crux and highlight of Korean traditional dance; its aesthetics and technique are extraordinary, and Korean dance's unique style is well expressed. The Buddhist dance, which has been descended, is divided into Han Yeong Suk style, which is designated as Important Intangible Asset Number 27, and Lee Mae Bang style. While the two dances are same one, area is difference and they have unique style because of genealogical difference. However, studies on Buddhist dance so far have focused on single style's dance, or comparison of regional aspects (Han Yeong Suk dance is from Gyeonggi and Lee Mae Bang dance is from Honam area). But, Lee Byeong Ok suggested traditional artist dance is differed by male dance genealogy and female dance (gibang) genealogy dance, and while folk dance has storng tie with region, but artist dance has weak regional tie. Therefore, the purpose of this thesis is to study genealogical character of Buddhist dance's dancing style, clarifying Han Yeong Suk dance is male dance genealogy and Lee Mae Bang dance is gibang dance genealogy. In other words, among three theses that compared Lee Mae Bang and Han Yeong Suk dances, one analyzing movement, one comparing dance of invocation and one comparing traditional ballad, are re-analyzed from genealogical perspective and characteristics are comparatively analzyed. The overall summary of the genealogical attitude of the Han Yeong Suk and Lee Mae Ban dances is; First, Han's dance has masculinity, upwardness, progressiveness, activeness, outgoing character, boldness and grace, which are character of male dance lineage, while Lee's dance shows feminity, downwardness, backwardness, aesthecity, inwardness, delicacy and coquette. Second, the most expressed parts of the attitude of two dances are genealogical character, and then are original and regional characters. Third, two dances have strong genealogical attitude, but also has anti-genealogical attitude since the gender of descendent was changed, in other words Lee Mae Bang was man, and Han Yeong Suk was woman. Fourth, even though the two Buddhist dances have different genealogy and region, they share similarities as traditional dance descended in the same time period, so there are many common features. In other words, the two dances are Korean nation's dance and from same time period, but they should not be mixed, either. Even though they have small differences, they must keep each genealogy and descend to the next generation.

• (The) Research of the performance art and culture
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• no.23
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• pp.347-368
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• 2011

This article is a review of the composition pattern of Suryukjae, which is one of the Buddhist ceremonies, and a consideration of the performance process. As one of the ceremonies leading the dead to heaven performed in the Buddhist circle, Suryukjae had been performed in Buddhist temples nationwide, but currently, it remains only in several Buddhist temples. Suryukjae is composed as follows. First, the early part of Suryukjae is a stage of preparing Suryukjae and ensuring legitimacy; thus, it has no detailed Jaecha except for Gwanyok. It is made up of Onghoge and Dage, has no Somun, and is centered on Yojabbara. The middle part of Suryukjae is a part in which Suryukjae is performed on a full-scale, which wishes the achievement of the goal of Suryukjae. It is made up of Geobul, Dage, and Somun, and is centered on Sadaranibara. Furthermore, this part delineates the flow of the Jaecha concerned as it contains detailed Jaecha. Meanwhile, in the middle part of Suryukjae, there is only detailed Jaecha called Sajadanman Bongsong (sending off), and the rest parts including Orodan, upper part, middle part, and lower part, in which there is no detailed Jaecha called Bongsong. The fact that there is no Bongsong in this part means all Bongsong is made in Heuihyang Bongsong, which is the last Jaecha. This implies that Saja, which is enshrined in Sajadan, is the essence of the achievement of the goal of Suryukjae. Only when there is Saja, Muju, Yuju, and Gohon (the meaning of all spirits) can be led to heaven. Also, from a rough perspective, this part is connected to other Chundojae (ceremony for sending off the dead to heaven) in Korea. There is a geori(Jaecha) that calls in Saja also in Jinogigut (exorcism) of Seoul. Then, although various gods from the otherworld are coming in in succession, to which Saja enters clearly shows a process in that Saja returns to the next world with the dead through . Just as demonstrates a process in that Saja returns to the next world with the dead in Jinogigut, also in Suryukjae, Saja needs to return to the next world with Gohon; therefore, at least Sajadan has detailed Jaecha called Bongsong. That is, this means that although Suryukjae of Buddhism is different from other Chundojae in terms of the composition of Jaecha, its notion about Saja is the same.

• (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.