• Journal of Animal Science and Technology
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• v.54 no.4
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• pp.247-253
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• 2012

Ultrasound measures of back fat thickness (UBF), eye muscle area (UEMA) and marbling score (UMS) and carcass measures of carcass weight (CW), backfat thickness (BF), eye muscle area (EMA) and marbling score (MS) were available on 26,129 Hanwoo steers. Statistically significant differences by regions of the farms location and birth years-seasons for the steers taken ultrasound measures and their carcass measures (p<0.01) were found. Steers in Gyeonggi province showed the highest values in ultrasound measures and carcass traits except in BF compared to steers in the other provinces. Comparing between ultrasound and carcass measures, UBF was thicker in general than BF in all regions except in Daejeon city. UEMA was higher than EMA in all regions except in Gyeonggior in Jeju provinces. Especially, the difference in Jeonnam province between UEMA and EMA was $7cm^2$ while the differences between UMS and MS ranged from 0.9 to 2.26 depending on the regions of steers located. Steers born in spring showed greater ultrasound or carcass values than those born in autumn. However, carcass measures of steers born in autumn were greater than those born in spring, 2009 except MS. The pearson and residual correlations were 0.63 and 0.65 between UBF and BF, 0.31 and 0.32 between UEMA and EMA and 0.56 and 0.56 between UMS and MS, respectively.

• Journal of Sericultural and Entomological Science
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• v.14 no.2
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• pp.125-154
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• 1972

The major purpose of this survey is to collect the related information on technical aspects for solving the problems which are facing producing farmers and regions, provide scientific facts to farmers related personals and institutions and aimed at contributing the development of sericultural sector in Korea. The results are as follows; (1) The area of mulberry field per a farmer which was selected as sample ranges from 3.0 to 370a with its average 45. 1a. And yet, the average of new cultivated areas is above than that of ordinary ones by 56.3 to 33.8a. The largest area is Honam hill area with 101. 1a and e smallest is Muzinzang with 20.8a. Shortly, a large number of farmer belongs to 11 to 50a with 66.5 per cent. (2) The ratio of clay and loam soils which are inadequte for growing of mulberry trees is 28.3 per cent and particulary high in new cultivated area with 36.2 per cent. And yet, base soil is occupied with 45 per cent of heavy clay and particularly even 54.2 per cent in new cultivated area. On the other hand, the number of areas which the contents of organic matters is relatively low, with 48.2 per cent is near the half, but the ratio of mulberry fields which seems to contain organic matters abundantly is only 7.2 per cent. (3) The varieties of mulberry trees are Ilgirae, Gaeryangseoban, Suwonsang No.4 and Nosang. The ,ratio of the varieties are 33.3%, 25.7%, 18.0% and 10.5%, respectively. Consequently the four varieties enumerated above occupies 93.5 per cent. (4) The mulberry fields are almost composed of exclusive mulberry fields and its ratio was 92.3 per cent. The number of planted trees per 10a arrange from 480 to 1,390 and its average is 846. But most of them nearly belong to 701 to 1,000 with 91.3per cent. (5) The second year's autumn after planting is generally adopted as the first harvesting season, and its ratio is 73.0 per cent, but autumn of the years and next spring are not few, and its ratio are 12.7 and 8.7 per cent. The first harvesting method is relatively normal with 88.8 per cent of ratio. From the viewpoint of harvesting method, picking leaves was applied with 97.7 per cent of ratio in young larvae rearing and picking shoot and picking shoot after harvest with branches were applied with 80.0 per cent of ratio in grown larvae rearing. The ratio of applying the harvesting method of picking leaves were 97.7 and 91.7 per cent in young larva and grown larva in autumn rearings. But there was also picking leaves absolutely with 7.1 per cent of ratio(Chunwon was 47 per cent) and yet, the farmers applying cutting before shooting in spring was no more than 17.8 percent.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.78-88
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• 2016

The comparative analysis result of appearance characteristic of landscape elements and symbolic elements implied by the tablets on the 16th century's Korean Damyang garden and Chinese Suzhou garden is as follows. First, among the landscape elements implied in the tablets, appearance rate of botanical factors appeared high in the gardens of both areas. Damyang garden displayed bamboo grove and natural forest around the garden, while Suzhou garden displayed artificial mountain(假山) created artificially and a variety of plants including lotus, bamboo, and pine surrounding it were associated with the significance of the tablets. On the other hand, climatic/celestial elements including the rain, wind, and the moon were associated with the tablets of Damyang garden, while the artificial factors such as the building, bridge, and book, etc. were mostly were associated with the tablets of Suzhou garden. Second, among the symbolic elements included in the tablets, ethical personality which is the basic virtue of a noble man(聖人), was the universal characteristic of the meditation world of the garden in both areas. However, a will for political stability was mostly associated with the tablets of Damyang garden, while the retrospect heart for the immortal was mostly associated with the signboard in Suzhou garden. It was concerned with political ideal and the thought of Confucianism respectively. Third, the symbolic elements that appeared frequently in the tablets of Damyang garden, "Ethics" and "Political stability", were associated with the scene atmosphere created by the climatic elements and celestial elements. On the contrary, the symbolic elements which most frequently appeared in the tablets of Suzhou garden, "Ethics", was associated with the symbolic significance of the plant. The invisible space of gardens was expanded by tablets in both areas.

• (The) Research of the performance art and culture
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• no.36
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• pp.137-167
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• 2018

As Gwangju Gwonbeon(meaning of a gisaeng call-office) was representative Gwonbeon in Honam area, it educated gugak(Korean traditional music) from the period of Japanese occupation to 1951, the year of foundation of Gwangju gugak center. As Gwangju Gwonbeon's later self, Gwangju gugak center was also an institution that local influentials interested in the education of gugak of Gwangju region cooperated and built. Therefore, Gwangju Gwonbeon should be considered when premodern and modern history of gugak in Gwangju is mentioned. However, the studies of Gwangju Gwonbeon as well as related studies are still thin. Previous researches related to Gwangju Gwonbeon are mostly focused on the operation and dance of Gwonbeon. However, Gwangju was a region where Pansori was invigorated. According to "Joseonmiinbogam", a record of gisaeng(Korean geisha) in 1918, gisaengs of Gwangju Gwonbeon were specialized in Pansori as compared with those of other regions. In addition, today, there are many master singers of Pansori heard by people, among persons who were educated and a lecturer in Gwangju Gwonbeon; therefore, their oral statement is important materials for understanding transmission of Pansori in Gwangju. Nevertheless, the relationship between Gwangju Gwonbeon and Pansori was not studied yet. Especially, oral statement of master singers of Pansori related to Gwangju Gwonbeon was collected partly, as a result, it is not recognized as valuable research materials. Foundation of Gwangju Gwonbeon and Gwangju gugak center became an important basis for education of Pansori as early private institute educating Korean classical musicians in Gwangju. And it is also meaningful as the trigger that gugak in Gwangju was begun in earnest. Therefore, the purpose of this study is reconstruct activities of master singers who worked in Gwangju Gwonbeon and Gwangju gugak center and is to examine transmission and value of Pansori in Gwangju from the period of Japanese occupation to 1973, collecting oral statement of master singers related to Gwangju Gwonbeon. Finally, this study might be helpful for expanding the interest in Pansori and activating related studies.

• Korean Journal of Breeding Science
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• v.42 no.3
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• pp.252-256
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• 2010

'Honong' is a new japonica rice variety developed and registered by the rice breeding team of Department of Rice and Winter Cereal Crop, NICS, RDA in 2009. This variety was derived from mutagen MNU (N-methyl-N-nitrosourea) treatment on fertilized egg cells of Unbong31. This variety has about 126 days growth duration from transplanting to harvesting in west-southern coast, Honam and Youngnam plain of Korea. It has 79 cm in culm length and is tolerant to lodging. In reaction to biotic and abiotic stresses, it show resistance to blast, bacterial blight pathogen races from $K_1$ to $K_3$ and stripe virus, but susceptible to other major diseases and insect pests. The milled rice of 'Honong' exhibits translucent, relatively clear non-glutinous endosperm and medium short grain. It has higher amylose content (20.3%) and lower protein content (6.3%), and good palatability of cooked rice compared with Nampyeong. The milled rice yield performance of this variety is about 5.44MT/ha in local adaptability test for three years. 'Honong' would be adaptable to west-southern coast, Honam and Youngnam plain of Korea.

• (The) Research of the performance art and culture
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• no.34
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• pp.9-42
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• 2017

Of all Geommu(劍舞, Korean sword dance), Gisaeng-Geommu danced by gisaeng(妓生, Korean female entertainers) for private guests and at the royal court. The Sword dance in the late Joseon Dynasty used to be dynamic exuding menacing "sword spirit(劍氣)." Sword dance being transmitted today is more ritualistic and elegant. This study considers Korean sword dance has a core structure and motifs transcending generational differences, and based on this critical thinking, aims to analyze the structure of Korean sword dance. This study analyzed the prose "Geommugi(劍舞記)" by Park Je-ga(朴齊家) and the poem "Mugeompyeonjeongmiin(舞劍篇贈美人)" by Jeong Yak-yong(丁若鏞) out of literary works from the late Joseon Dynasty, and from official records of rituals(笏記), "Geomgimu(Sword Dance, 劍器舞)" and "Geommu" in "Gyobanggayo(敎坊歌謠)." In the introduction part of Sword dance, a dancer appears, bows and performs a hand dance or hansam(汗衫) dance to and fro. In the development part, a dancer meets with a sword but first hesitates to hold it and dances holding swords in both hands. The climax shows expert sword skills and combat scenes. In the conclusion part, the court dance involves a dancer bidding a formal farewell, while the dance for entertainment, a dance throws away the sword to finish. From literature materials, the structure of Korean sword dance could be divided into an introduction, a development, a climax and a conclusion. Based on this, this study analyzed sword dance movements by linking the beats accompanying the current sword dance, in the order of a Yeombul, the traditional Korean ballad Taryeong or Neujeun Taryeong, Jajin Taryeong, Taryeong and Jajin Taryeong. The introduction part includes a Buddhist prayer and the beginning of Taryeong. Dancers appear, and in two rows they dance facing each other. On the slow beat, their dances are relaxed and elegant. The development part is matched with Jajin Taryeong. Dancers sit in front of swords and grab them, and they dance holding a pair of swords. The beat gradually becomes faster, progressing the development of the dance. But then, the slower Taryeong is placed again. The reason behind it is to create a tension for a little while, before effectively reaching a climax by speeding up the tempo again. Moving on to Jajin Taryeong, dancers' movements are bigger and more dynamic. The highly elated Jajin Taryeong shows dance movements at the climax on fast, robust beats. In the conclusion part, the beat is quick-tempo and on the upbeat again on Jajin Taryeong. Driving on without a stop on the exciting Yeonpungdae(燕風臺) melody, dancers standing in a line dance wielding the swords and bow before finishing.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.63 no.4
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• pp.273-281
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• 2018

Wet hill seeding (WHS) is one of the more famous labor and money saving methods technology used for rice cultivation. In WHS, rice standing percentage and weedy rice occurrence are the most important factors considered to secure a rice yield. We investigated the optimum seeding date of WHS in the Southern Plain area of South Korea. Weedy rice needed two weeks at $15^{\circ}C$ to show over 80% emergence. Germinated rice seed grown at $20^{\circ}C$ needed over for 10 days to achieve a shoot length over 3 cm. In field cultivation, the mean temperature for ten days after seeding showed a highly positive correlation with rice standing rate, spikelet number per square meter and yield index that favorably compared to machine transplanting. With these data, we suggest that the optimum seeding date of WHS that can secure over 98% of yield index of machine transplanting in Southern part of Korea is May. 21~Jun. 5 in Honam and May. 16~Jun. 5 in Yeongnam area.

• Phonetics and Speech Sciences
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• v.11 no.1
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• pp.51-61
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• 2019

The purpose of this study was to develop a smartphone based voice therapy program for patients with voice disorders. Contents of voice therapy were collected through analysis of mobile contents related to voice therapy in Korea, experts and users' demand survey, and the program was developed using Android Studio. Content needed for voice therapy was collected through analysis of mobile contents related to voice therapy. The user satisfaction evaluation for application was conducted for five patient with functional voice disorders. The results showed that the mobile contents related to voice therapy in Korea were mostly related to breathing, followed by voice and singing, but only 13 applications were practically practiced for voice therapy. Expert and user demand surveys showed that the patients and therapists both had a high need for content that could provide voice training in places other than the treatment room. Based on this analysis, 'Home Voice Trainer', an smartphone based voice therapy program, was developed. Home Voice Trainer is an application for voice therapy and management based on Android smartphones. It is designed to train voice therapy activities at home that have been trained offline. In addition, the records of voice training of patients were managed online so that patients can maintain voice improvement through continuous voice consulting even after the end of voice therapy. User evaluations show that patients are satisfied with the difficulty and content of voice therapy programs provided by home voice trainers, but lack of a portion of user interface, such as the portion of home button and interface between screens. Further study suggests the clinical application of home voice trainer to the patients with voice disorders. It is expected that the development study and the clinical application of smart contents related to voice therapy will be actively conducted.

• (The) Research of the performance art and culture
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• no.34
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• pp.215-240
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• 2017

This paper reviewed the aspects of using Seoul gut and Hwanghaedo gut, which are gangshingut(exorcism by possessed shamans), and Gyeonggidodanggut and Southern coast byeolshingut, which are seseupmugut(exorcism by hereditary shamans), and based on that, examined the universality of using beats of mudanggut. This study should have examined the use of beats in donghaeangut and honamgut and it was the limitation of this paper. While it examined the universality and mentioned several cases of donghaeangut, this paper will have a clearer point when it studies the use of beats in donghaeangut. Through the process, this study tried to present that though the groups and aspects of performance differ from region to region, the universal principle may be the same. The beats used in gut of different regions have clearly different systems. Depending on performers and ways of performance, different beats are used. As for the system of beats, the name of beats and composition has uniqueness but there are similarities when compared to gut of other regions. In this paper, this was called universality. It means that there are significant differences in the composition of shaman songs, ways of performance, and use of beats but the system of beats is the same. Different aspects of using beats depending on performers are also regional universality. In Seoul gut, the use of beats is different depending on whether a janggujaebi performs gut in the sitting position, singing shamanistic songs or a shaman performs gut in the standing position. Gyeonggidodanggut is representative when it comes to the use of beats being clearly distinguished depending on performers. Beats differ depending on whether the performer is Miji or Sani. Also it is common that through the use of beats they convey the significance of performing shaman songs. It is found in the gut of all areas to express the meaning of cheongshin and oshin and this is seen more conspicuously when expressing some beats are closely related to the status of spirits. In Seoul gut, as the name sangsanjangdan and byeolsangjangdan show, the name of spirits are used as the name of beats and gut of all regions express the significance of expelling spirits through the use of beats. It means that ways of performance differ depending on regions, but there is an awareness of spirits, the main agent of gut. Though seseupmugut has weaker awareness than gangshingut and there are not various factors of performance that show divine power, the use of beats reveal that there is awareness about spirits.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.321-331
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• 2020

This study was conducted to investigate communication competence, clinical competence and experience of handover which influence self-efficacy of handover among nursing students. The study design was a descriptive survey. A total of 255 students were recruited from nursing departments in G-city. Structured questionnaire was self-administrated from June to September, 2019. The collected data were analyzed using t-test, ANOVA, Pearson's coefficient and stepwise multiple regression. As results of the study, communication competence 57.3, clinical competence 69.8 and self-efficacy of handover was 33.8. Self-efficacy of handover had significant differences in gender(F=4.60, p<.001), age(F=16.72, p<.001), grade(t=-6.39, p<.001), satisfaction of clinical practice(F=3.68, p=.027), education experience about handover(t=26.44, p<.001), experience of handover(t=4.84, p<.001), fear of handover(F=16.97, p<.001), and handover importance of patient's safety(F=6.42, p=.002). Self-efficacy of handover had significant positive correlations with communication competence(r=.249, p<.001) and clinical competence(r=.426, p<.001). In multiple regression analysis, fear of handover(β=-.294, p<.001), clinical competence(β=.252, p<.001), grade(β=.191, p=.001), experience of handover(β=.185, p<.001), gender(β=.150, p=.003), and education experience about handover(β=.126, p=.017) were significant factors of self-efficacy of handover explaining 40.0%(F=29.26, p<.001) of the variables. In conclusion, to enhance self-efficacy of handover for nursing students, it is necessary to develop educational program for increasing experiences of handover, education experience about handover, and clinical competence.