• Journal of Fashion Business
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• v.13 no.4
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• pp.112-123
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• 2009

The -purpose of this study is to examines the Cheoyongmu's costume of the paintings of Banquets during the Choseon dynasty focusing on the Comparison of the Cheoyongmu's costume in Akhakgwebeom. The method of the study is the literature analysis closely the occurrence, feature, and function of the Cheoyongmu by analyzing the costume process of transition of the eras was analyzed into the function and feature. The research was done by comparing and analyzing the difference of the costume in Akhakgwebeom. In term of difference, of the Cheoyongmu's costume of the paintings of Banquets and Akhakgwebeom had the shape and colour. In headgear, Samo(: 紗帽) or Bokdu was worn and the flower decoration on the Samo and Ui(:衣)was different pattern. The Gilgyong(:吉慶) was not worn. Hye(: 鞋) and Hwa(:靴) was worn and the colour of Hwa was different.

• Journal of Korean Medical classics
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• v.21 no.3
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• pp.103-117
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• 2008

At first, we explained concepts of Oseong(五聲) in "Akhakgwebeom(樂學軌範)" and then compared them with O-eum(五音) in "Hwangjenaegyeong(黃帝內經)". In that progress we can have recognized the commonness and differences between two texts, and became familiar with ideas of sounds in minds of ancients. That ideas are concerned with true nature of human and cosmos. Based on that ideas, we could return to stasis of mutual understanding with each other, it means a condition of harmony. For that purpose we must understand detail meanings of O-eum(五音) and Oseong(五聲), and this analysis lead clinical music therapy to do an important thing as methodology of treating human body and minds. The ideas of O-eum(五音) in "Akhakgwebeom(樂學軌範)" are not exactly corresponded to vocalization of Hunminjeongeum(訓民正音) that is Korean characters, and Oseong(五聲) in "Hwangjenaegyeong(黃帝內經)". But this dissonancy is a problem of methodology, on the contrary, there are many common concepts and possibilities of application to practical uses between them.

• (The) Research of the performance art and culture
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• no.35
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• pp.441-470
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• 2017

This paper deals with three issues related to influx and change of the Confucian Shrine Ritual Music. First, the musical instrument of the Akhakgwebeom-wooden frame-form used in the current Confucian Shrine Ritual Music is not a form that came in when the Daesung-Aak of the Song Dynasty was introduced in 1116, but it is a Yuan Dynasty form brought from the Ming Dynasty, in the 19th year of King Kongmin. In the Song Dynasty of the Goryeo Yejong era, when Daesung-Aak came in, there was not yet 'Baeso', a musical instrument of the Akhakgwebeom form, which first appeared in the Yuan Dynasty. A new musical instrument named 'Baeso' appears with the 'So' in the later period of King Gongmin, and it is very likely that this 'Baeso' is the musical instrument of the present Akhakgwebeom form. Second, although the form of the 'So' in the Joseon Dynasty recorded in the Akhakgwebeom was followed by the Chinese one, but the pitch and arrangement are the one of the pitch of '12 Yul and 4 Cheongseong' and the arrangement of the pitch from left to right. Third, in the 1930s, the whole form was the same as that of the Akhakgwebeom, but there existed two types, which several pipes stick together or pipes fall apart. But since then, as seen in the musical instrument located at Kyungpook National University Museum and in instruments currently used in Confucian Shrine Ritual Music, only musical instruments exist which pipes fall apart. It is unclear for what reason and to what extent the 'So' were so transformed, but it would be appropriate to re-establish the form of the 'So' in the musical and historical point of view.

• (The) Research of the performance art and culture
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• no.34
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• pp.241-276
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• 2017

This paper studies the restoration of Jeongeup notated in Daeakhubo to a singable song. Firstly, the melody of Jeongeup was restored by finding the rhythm of Jeongeup. Secondly, Jeongeup lyric written in Akhakgwebeom was added to the restored melody. Lastly, the musical style of restored Jeongeup song was investigated. The rhythm of Jeongeup was found to be the same as Jinjak's rhythm whose measure consists of four ternary subdivided beats. It is because the Jangdan of Jeongeup contains that of Jinjak. The Jangdan of Jeongeup is played one touch in a measure. Such ternary subdivided beat and one Janggo's touch in a measure were transmitted to today's Sujecheon. The lyric of Jeongeup was added to the restored melody of Jeongeup by following the lyric rules of Jinjak1,2 and Hoengsalmun. The lyric rules of Jinjak 1,2 and Hoengsalmun are as follows. One syllable is sung in two measures, Eodanseongjang 語短聲長 appears, long lasting tunes are mostly applied to Jang of Eodanseongjang 語短聲長, and syllables begin at the first beat in a measure. The musical style of Jeongeup is basically similar to that of Jinjak1, but there are some differences. They are similar in the sense that the melody is very long compared to the lyric and Eodanseongjang 語短聲長 appears. They are different in the sense that Jeongeup uses grace notes rather than Sigimsae when one tune lasts long. Jeongeup in Daeakhubo seems to have undergone changes, and its rhythm is likely to have been expanded two to four times in order to match Mugo dance after being used as an accompaniment to Mugo dance.