• (The) Research of the performance art and culture
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• no.32
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• pp.701-738
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• 2016

The Geomungo(거문고) is a instrument of Gogureoy(高句麗). The instrument had covered a lot of Korea, so it have become a important musical instrument in Korea. Hayasi Genjo(林謙三), Japanese scholar, had maintained his opinion that the Geomungo of Gogureoy is the Wagonghu(臥??), and the Geomungo was formed later, the record of Kimbusik, wrighter of the History of Three Kingdom(三國史記), was incredible. Lee-Hyegu refuted his hypothesis because the introduction on the Wagonghu of Japan have been inaccurate. Since then, many scholars of Korea have studed on the Geomungo of Gogureoy. But their study of the Geomungo was inclined to the topic, relation of the Geomungo and the Wagonghu, or the Wagonghu, the origin of the Geomungo. And They have thought that the record of Kimbusik's was truth. Kimbusik had recorded that Wangsanak(王山岳) had made the Geomungo from the Chilheoyn-Geum(七絃琴, Seven stringed Zither. 古琴). But the Geomungo was different from Geum(琴), but similar to Wagonghu. Many ancient tomb have been unearthed in the old land of Gogureoy, and the were many tomb painting of Gogureoy Geomungo. They were many different style, the form, the size, the number of strings and the position of the musician. So I think that many various type of the Geomungo had been exsited in Gogureoy they had become a prestyle of the Geomungo. The Geomungo was originated from the Wagonghu, its form was similar to the Geomungo. The many scholars considered that it is truth, the Wagonghu was handed down from China, and was spreded to Japan. But there were the Wagonghu in the early Joseon(古朝鮮), The song of the early Joseon, Gongmudohaga(公無渡河歌). The song was accompanied by the Wagonghu. We can read off, at the Song, the Wagonghu had exsisted in the early Joseon. So I think cautiously on that point, the Wagonghu of the Early Joseon was old than that of China, and thd Geomungo of Gogureoy was originated from the Wagonghu of the Early Joseon.

• Communications of Mathematical Education
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• v.28 no.3
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• pp.367-374
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• 2014

Recently, interdisciplinary relation is emphasized on and various models are proposed. Since group theory is one of the important areas of modern mathematics, all the mathematics teachers for secondary school are familiar with it. Group theory, the theory of symmetries, are effectively applied to music or arts. In this paper, we understand the approximation model for gwaeyul of geomungo group theoretically to show the relation between mathematics and music(Korean music, in particular). This paper, in fact, proposes a group theoretic approximation model for gwaeyul of geomungo. The materials like this will be of help to teachers who try to integrate mathematics to other areas.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.605-611
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• 2022

This study excludes how to define the concepts and categories of the Ah-ak(雅樂) and Sok-ak(俗樂). In the process from the early Joseon Dynasty to the late Joseon Dynasty, the aesthetic appreciation system of the Ah-Sok(雅俗) in traditional music, which is consistently projected on court music and folk music centered on Pungryubang, was revealed through specific historical records. Through this study, we were able to examine as follow : In the early Joseon Dynasty, the aesthetic of music related to the the Ah-Sok(雅俗) was mainly projected on the court's ritual music and Yeonhyangak-music for korean court banquet-, and in particular, the aesthetic thoughts of Geomungo[玄琴] was at the center. As we descend to the late Joseon Dynasty, the aesthetic of music related to the Ah-Sok(雅俗) has been expanded to the private sector, reflecting the aesthetic of Pungryubang music, and it can be seen that the aesthetic thought of Geomungo[玄琴] was at the center.

• Journal of the Ergonomics Society of Korea
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• v.31 no.6
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• pp.749-756
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• 2012

Objective: This study was performed to investigate the prevalence of musculoskeletal disorders of traditional Korean instrument player using a variety of traditional classical instruments: Gayageum, Geomungo, Ajaeng, Haegeum, Daegeum, Piri and Samul instruments. Background: A large percentage of instrument players have suffered from the musculoskeletal pain of each body parts. However, there is no research on the prevalence of musculoskeletal disorders of traditional Korean musical instrument players. Method: Through the focus group interview, a questionnaire to investigate musculoskeletal disorders was developed. The questionnaire consisted of four parts: demographic factors, performance factors, musculoskeletal disorders symptoms, musculoskeletal disorder experience. For the survey, 118 expert players participated. The data from the survey were analyzed by correlation analysis and chi-square analysis. Results: The symptoms of musculoskeletal disorders and the severe pain from musculoskeletal disorders were observed at neck, shoulder, back and knee. The musculoskeletal experience was statistically related to the factor of body height in Gayageum and Geomungo. In addition, the musculoskeletal experience in Geomungo was related to age and career. However, the musculoskeletal experience in Ajaeng and Haegeum was only related to the factor of hobby. The musculoskeletal experience in Daegeum and Piri was related to stretching. In addition, there was a statistical significance between the musculoskeletal experience and sex in Daegum. In Samul instruments, the statistical significance was observed at age, BMI, career and stretching. Conclusion: The symptoms of playing-related musculoskeletal disorders of traditional Korean musical players were prevalently observed at neck, shoulder, back and knee. In addition, these symptoms were related to the various demographic factors such as age, body height, BMI, career, sex, hobby and stretching. Application: The results of this study can be used as the preliminary data for preventing the musculoskeletal injuries of traditional Korean musical instrument players.

• Journal of Korean Medical classics
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• v.23 no.1
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• pp.91-100
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• 2010

In this study, I investigated physiology and pathology of the kidney and then researched deficiency of the kidney-nourishing the Eum music therapy to apply for clinical use, because symptoms such as chronic fatigue, morbus asthenia, anxiety, dizziness, tinnitus, and amnesia are prevalent in our modern societies. These symptoms are due to deficiency of the kidney. The kidney stores vital essence and has a function to keep activities as motive power. If the kidney is abnormal in storing the essence and holding Gi, various symptoms like dizziness, tinnitus, amnesia are caused by deficiency of the kidney. In deficiency of the kidney-nourishing the Eum music therapy, Water-Gi music which can store the essence is mainly used. In case of patients with deficiency of the kidney, dizziness, tinnitus, and amnesia, we can make use of NO.3, BWV 1068, Air of J.S.Bach and Jinyangjo of Geomungo. If there are flaring-up and fidgetiness due to deficiency of vital essence, Earth-Gi music that can help the vigor of spleen and stomach should be used prior to Water-Gi music. In the concrete, Hahyeondodeuri of Yeongsanhoesang played on Geomungo can be used. The tinnitus is caused by wind-heat and fire in the gallbladder. It is good to nourish the Eum through Water-Gi music after dispelling pathogens through Jajinmori among Gayageum sanjo.

• Journal of Sericultural and Entomological Science
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• v.46 no.1
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• pp.38-43
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• 2004

The strings of Gayageum and Geomungo are usually made of raw silk. It needs good vibration as well as good durability to endure during play the Gayagum and Geomungo. This study was carried out to discuss some effects of twisting number of first and final twisting on the mechanical properties of silk Gayageum strings. Tenacity of strings were largely decreased proportionally with the increase of number of twisting of strings but elongation of strings were in the opposition direction. However, it was needed to hard twisting string for the good vibration. The proper S direction twisting velocity of moving twister during final twisting (Z direction) until three thread become one thread, was 40% of basic twister.

• Journal of Sericultural and Entomological Science
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• v.46 no.1
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• pp.32-37
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• 2004

Gayageum and Geomungo are the traditional stringed music instrument in Korea. These strings are usually made of raw silk. This study was carried out to investigate the optimum condition for silk string producing method using several kind of silk and setting temperature of silk string. If the ply of strings and twisting condition were same, tenacity and elongation of every silk strings were similar, in spite of silk strings prepared by physically different raw silk. On the other hand, in setting treatment of twisted string, it was disclosed that the proper setting temperature of silk strings were 11$0^{\circ}C$ for 20 min.

• The Journal of the Acoustical Society of Korea
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• v.30 no.2
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• pp.107-113
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• 2011

This paper describes a development of a loop filter design in a physical modeling of the plucked string instrument. The conventional method proposed by V$\"{a}$lim$\"{a}$ki cannot estimate right parameters if a sound has either very short sustain or no sustain. In order to overcome this drawback, we propose the use of the decay region and 5 to 20 harmonics of the sound in the estimation of loop filter parameters. The most appropriate filter coefficient is chosen by frequency signal to noise ratio. To verify the performance of the proposed method, the guitar, gayageum and geomungo were selected as the target because they have different shape, structure, and material of strings. Regardless of the duration of harmonics, the proposed method was able to estimate the loop filter parameters representing frequency-dependent damping of harmonics.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.90-102
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• 2012

Sansuyucheop by Heojoobugun(虛舟府君) as the subject of this study is a 십이-width picture album by the eldest grandson of 11 generations for Goseong Lee family, Lee Jong Ak(李宗岳: 1726-1773), a figure having five habits(五癖) for ancient documents(古書癖), playing the gayageum(彈琴癖), flowering plant(花卉癖), paintings and calligraphic works(書畵癖) and boating(舟遊癖) etc., who boated with 18 relatives, and those by marriage from old home, home of mother's side, wife's home, and his home for 5 days Apr. 4 through 8, 1763, starting from Imcheonggak, through Yangjeong(羊汀), Chiltan(七灘), Sabin Auditorium(泗濱書院), Seonchang(船倉), Nakyeon(落淵), Seonchal(仙刹), Seonyujeong(仙遊亭), Mongseongak(夢仙閣), Baekwoonjeong(白雲亭) and Naeap Village(川前里), Iho(伊湖), Seoeodae(鮮魚帶) to the returning point, Bangujeong(伴鷗亭), cruised magnificent views around Banbyeoncheon called 'Andong 8 Gyeong' or 'Imhagugok', and whenever the boat anchored, appreciated the scenery at each point, and enjoyed and loved arts playing the geomungo. This study reached following findings through grasping physical, ecological, visual and aesthetic changes about the places, sceneries, plant elements and past and current scenery of the width pictures expressed at this Sansuyucheop. The refinement on the boat seeing the clear river water, white sand beach, fantastically-shaped cliffs expressed at this Sansuyucheop, exchanging poems and calligraphies, and enjoying the geomungo is a good example displaying the play culture of high-class in Joseon Dynasty. Also construction of Imha Dam and Andong Dam has caused serious visual and ecological changes, making us not enable to feel the original mood of the background spots such as Yangjeonggwabeom(羊汀過帆), Chiltanhuseon(七灘候船), Sasubeomjoo(泗水泛舟), Seonchanggyeram(船倉繫纜), Nakyeonmosaek(落淵莫色), Mangcheonguido(輞川歸棹), Ihojeongdo(伊湖停棹), but only discern then landscape or sentiment through the landscape described at the canvas. The 1st picture(Donghohaeram, 東湖解纜), and the 11th picture(Seoeobanjo, 鮮魚返照) of Heojoobugun's Sansuyucheop expressed trees thought to be fallen, brad-leaf tall trees, and the 9th picture(Unjeongpungbeom, 雲亭風帆) formed a pine forest called 'Gaeho(開湖)' by Uncheongong planting 1,000 pine trees with the village people in 1617. In addition, Seunggyeongdo expressed ever-green needle leaf trees at the natural topography, and fallen-leaf tall trees around the pavilion and building. Comparative consideration of Heojoobugun's Sansuyucheop and Shinam's Dongyusipsogi(東遊十小記) showed that the location of Samgok is assumed to be Macheon and Chiltan, so Imhagugok is assumed to start from Baekunjeong of Ilgok, Igok from Imcheon and Imcheon auditorium, Samgok from Mangcheon and Chiltan, Sagok from Sabin Auditorium of Sasoo, Ogok from Songseok, Yukgok from Sooseok of Seonchang, Chilgok from Nakyeonhyeonryu, Palgok from Seonchalsa and Seonyoojeong, and Gugok from Pyong Yuheo. This study can be significant in that it could clarify that Heojoobugun's Sansuyucheop is judged to be valuable in exquisitively expressing the coast of Banbyeon River, the biggest branch stream in the Nakdong River at the latter half of Joseon Dynasty, and as a vital diagrammatical historical data to make a comparative analysis of currently rarely-seen ancestors' life traces and landscape factors with present ones.

• The Journal of the Acoustical Society of Korea
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• v.24 no.8
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• pp.469-480
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• 2005

There have been always some difficulties in target setting and conditioning of acoustic performances or the Korean traditional music hall due mainly to the lack of the information on the sound radiation characteristics of Korean musical sources. As the 2nd experiment succeeding the previous study[1], the radiation characteristics of eight typical Korean traditional musical sources were investigated if precision. The selected musical sources were Geomungo, Haegeum (string), Piri, Taepyeongso (woodwind), Buk, Kwaengguari, Jing (drum), and male Pansori Chang (vocal Performance). The results show that the directivity pattern of each instrument is different and has their own directivity characteristics. Measured directional and spectral characteristics of traditional Korean music sources were implemented into the computation of architectural acoustic measures. Significant differences in the acoustic measures at receiver positions were observed between the results in using the omni-directional source and the directional one. In order to investigate the acoustical characteristics of the instruments depending on the spatial variation four different shapes of halls were introduced including rectangular, fan. horse-shoe and geometrical shapes. Room acoustical parameters such as RT, SPL, C80, LF, STI were calculated at each type or hall. As the results, It was found that the rectangular hall has the most high clarity. lateral energy and STI values among low shapes of halls. It is thought that the suggested source data and design method can be used as a basic reference in the future acoustic design of performance halls for the Korean traditional music.