• 한국신재생에너지학회:학술대회논문집
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• 2007.11a
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• pp.376-377
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• 2007

In accordance with Madrid and Kyoto Protocols, a 10kW wind turbine installed about 625m away from the King Sejong Station in the Antarctica has been in operation successfully. The current location of the wind turbine has different geographic surroundings from the previous candidate site considered in 2005 and that makes re-evaluation of wind resource at the current site including geographic effects necessary. Especially, strong wind flow derived by steep and complex terrain is dominant in the Antarctica so that computational flow analysis is required. The wind rose measured at the previous and current installation location are identical with strong meteorological correlation but prevailing directions of wind power density are different because of local wind acceleration due to complex terrain. Numerical analysis explains which effects brings this discordance between the two sites, and a design guideline required for additional wind turbine installation has been secured.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.80-95
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• 2016

This study sought to disclose the problems surrounding the erroneous explanation of the title of the musical script 'Jeongdaeeop,' which is Jongmyojeryeak(Jongmyo Shrine ritual music), shown in Daeakhubo, Korea's treasure No.1291. Daehakhubo imitated and adopted expressions like 1 Byeon(change) and 1 Pyeon(edition), shown in the music written in the Annals of King Sejong, the foundation of Jongmyojeryeakbo music. Originally, 'Jeongdaeeop' recorded during the reign of King Sejong consisted of 6-Byeon and 13-Pyeon compositions, except Inlet and Outlet tunes. King Sejo, however, while rearranging this music into Jongmyo Shrine Mumuak music, reduced it to 9 tunes. And, when registering such arrangements in the musical scripts in the Annuals of King Sejo, he did not list the explanation of the titles as in the Annals of King Sejong. He just listed the nine tunes. In contrast to the musical scripts in the Annals of King Sejo, in Daeakhubo the details of Byeon and Pyeon under the nine tune titles are listed as in the Annals of King Sejong. This study revealed that Byeon and Pyeon expressed in Daeakhubo were the results of arbitrarily transcribing the different Byeon and Pyeon of 'Jeongdaeeop' and 'Balsang' in the Annals of King Sejong into the revised 'Jeongdaeeop' during the reign of King Sejo. Thus, under the titles of each score in 'Jeongdaeeop' of Daeakhubo are written the explanations of the muscial scores shown in both 'Jeongdaeeop' of the Annals of King Sejong and 'Balsang' of the Annals of King Sejong. Thus, the story of the son Ikjo is described even ahead of the story of the father Mokjo, and stories totally different from the original movements are described, creating overall errors. Such errors were presumably caused by powers that created the false musical script 'Sokakwonbo' during the Japanese colonial rule of Korea and disguised it as a traditional musical script.

• Korean Journal of Heritage: History & Science
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• v.56 no.1
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• pp.142-160
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• 2023

The position of the people who participated in the Bapyo Ritual held in the reign of King Sejong and the corresponding costumes were examined. The king, who was the executive body of the ritual, wore Myeon-Bok, a court dress, and Myeon-Bok was Gujang-Bok made of Jang-wha on Guryu-Pyeongcheongwan. Crown princes, royal families, and government officials wore Oryang-Gwan and Jekraeui, which were Jobok. The crown princes' Joboks were changed from Oryang-Gwan to Wukryang-Gwan in the dynasty year 10 of King Sejong, and in the year of King Munjong's accession, Myeon-Bok was received, and after King Danjong, the crown princes wore Palryu-Pyeongcheongwan and Chiljang-Bok. Diplomats and Jongsagwan who were the envoys wore Sangbok. A Sangbok worn by the diplomat was Samo with Danryeong, Seo-Dae, and Hyeopgeum-Hwa, and a Sangbok worn by Jongsagwan was Samo, Danryeong, Heukgak-Dae, and Heukpi-Hwa. Byulgam, who served as an attendant to the king in the king's close quarters, wore Gongbok and Sangbok. Gongbok consisted of Ja-Geon, Danryeong and Heukpi-Hwa, and Sangbok consisted of orange color Cho-Rip, Jikryeong, Joa, and Heukpi-Hwa. The person holding San, Gae , Sujeongjang, and Geumwolbu wore Ja-Geon and Cheong-Ui, and Seon wore Pimoja and Hong-Ui. Siwigun wore armor and helmets equipped with weapons. Among court musicians, Aksa's costumes consisted of Bokdu, Bigongbok, Geumdonghyeokdae, Bibaekdaedae, and Opiri, and Aksaeng's one composed of Gaechaek, Bisuransam, Hyupgo, Mal, Maldae, and Opiri. As a result of the above, the process of ceremonial clothes becoming uniform clothes in the reign of King Sejong was confirmed. The king and lower-ranking officials such as crown princes, government officials, diplomats, Byulgam, armies for ceremonial weaponry, and court musicians participating in the Bapyo Ritual wore the highest grade of ceremonial clothes for each class. King Sejong had repeated discussions to build a nation based on Confucianism, and arranged each rite and corresponding costume, and the Bapyo Ritual costume was also systematically prepared for each position. The ceremonial clothing organized during the reign of King Sejong was regulated in Yejon and became the basis for continuing to the late Joseon Dynasty.

• Journal of architectural history
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• v.11 no.4 s.32
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• pp.129-142
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• 2002

The Kyeongbok Palace was completely renewed during the reign of King Sejong, the fourth King of the Joseon Dynasty(1392-1910). The repair was done for the two main purpose; one was to obtain the dignity of the main palace of the dynasty, the other was to make the palace suitable for the performing of the various ritual ceremonies. It was under the reign of King Sejong that every detail of the procedure of the royal ritual ceremony. The procedure of ritual ceremony changed the buildings of the palace. The quarter of Sajeong-jeon, King's office, was changed remarkably from the original form as the building became the beginning and ending point of King's moving during the ritual ceremonies. The site of the palace had ill reputation from the point of geomancy since its establishment. King Sejong ignored the rumor and kept the palace as usual. In his later year's, Sejong had tried to build a detached quarter and a Buddhist shrine in the palace. But he had to give up his plan because of the retainer's strong opposition. The original layout of the Kyeongbok Palace could be remained as the King renounced his controversial personal wish. King Sejong deserves a full credit for the establishment of the Kyeongbok Palace as the main palace of the Joseon Dynasty.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.32-46
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• 2011

The study researched the characteristic of helmet and armor reflecting Joseon Dynasty by focusing on the helmet and armor appearing in dramas, the Tear of Dragon and King Sejong, whose common point is the historical background, the early Joseon Dynasty, among the historical dramas, which are manufactured on the basis of historical person or age. First, the helmet and armor appearing in historical drama was reproduced on the basis of historical record depending on age. In the early Joseon Dynasty, helmet was classified into cheomju and wonju and armor was classified into chalgap, swaejagap, gyeongbeongap, dujeonggap and dudumigap. In drama, the Tear of Dragon and King Sejong, for helmet, cheomju and wonju were used and for armor, chalgap, dujeonggap and dudumigap, whose type and manufacture method were similar to that of historical record, were reproduced. Second, the helmet and armor appearing in historical drama searched for function. In drama, the Tear of Dragon, rather than heavy iron, plastic and textile were used and the metal scale inside armor was removed. In drama, King Sejong, the weight of armor was decreased by removing the metal scale inside armor and easy wearing was secured by using velcro. Third, the helmet and armor appearing in historical drama expressed various dramatic interpretations. In drama, the Tear of Dragon, the same color as that of armor was adopted for helmet to provide stable and unified feeling. Visually splendid display was added to armor by matching powerful prime color and glossy metal. In drama, King Sejong, modem sense was added to helmet and armor by actively using pastel color reflecting modem fashion.

• Publications of The Korean Astronomical Society
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• v.26 no.3
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• pp.129-140
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• 2011

In this paper, we have studied Sogyupyo (小圭表, small noon gnomon) of the Joseon dynasty. According to the Veritable Records of King Sejong (世宗, 1418 - 1450), Daegyupyo (大圭表, large noon gnomon) with a height of 40-feet [尺] was constructed by Jeong, Cho (鄭招) and his colleagues in 1435, and installed around Ganuidae (簡儀臺, platform of Ganui). On the contrary, the details of Sogyupyo are unknown although the shadow length measurements by Daegyupyo and Sogyupyo are found on the Veritable Records of King Myeongjong (明宗, 1545 - 1567). By analysing historical documents and performing experiments, we have investigated the construction details of Sogyupyo including its development year, manufacturer, and installation spot. We have found that Sogyupyo would be manufactured by King Sejong in 1440 and placed around Ganuidae. And Sogyupyo would be five times smaller than Daegyupyo, i.e., 8-feet. On the basis of experiments, we suggest that although it is smaller, Sogyupyo was equipped with a bar [橫梁] and a pin-hole projector [影符] like Daegyupyo in order to produce the observation precision presented in the Veritable Record of King Myeongjong.

• (The) Research of the performance art and culture
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• no.36
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• pp.415-440
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• 2018

On September 23, 2015, the Ministry of Education announced the 2015 revision of educational curriculum which aimed at 'cultivating creative talents' based on the Article 23, Section 2 of the Elementary and Secondary Education Law. As a result, music curriculum have also been partially revised, which seems to maintain the 2009 revision of music curriculum. Although Jeongganbo 井間譜 is already exposed in the music curriculum for the third and forth grades of elementary school, the learning content about how to read Jeongganbo and how to express the pitch and length of sound including the origin of its name and the background of its invention are dealt with specifically in the fifth and sixth grades. Jeongganbo is known as the oldest mensural notation in the Orient created by King Sejong of the Joseon Dynasty in the middle of the $15^{th}$ century, and it was used for the first time in Sejong sillok akbo 世宗實錄樂譜 (Scores in the Annals of King Sejong), the oldest musical score still in existence. However, in the music textbooks as well as the most of specialized books related to the Korean traditional music, it is uncritically accepted without providing clear grounds that Sejong invented Jeongganbo himself. If so, it is necessary to investigate on which grounds it is claimed that Sejong invented Jeongganbo. This paper first examined the grounds of the proposition that "Sejong invented Jeongganbo," which is introduced in the music textbooks for the fifth and sixth grades of elementary school, by separating it into Sejong's creation of Sinak 新樂 (new music), Sejo's invention of Jeongganbo and Sejong's invention of Hangeul. Next, this paper examined how the subject of the invention of Jeongganbo has been described in the textbooks for the fifth and sixth grades in elementary school based on the 2009 revision of music curriculum, and suggested the direction of a desirable music education by pointing out the related problems. According to historical records and circumstances such as Sejong's creation of Sinak, Sejo's invention of Jeongganbo with 16 Jeonggan (square) in one vertical line, Sejong's invention of Hangeul and so on, it seems to be the most reasonable that Sejong is the subject of the invention of Jeongganbo as of now. However, the attitude of the musical academy to accept and educate the unclear thing as if it is a fact does not seem desirable. Therefore, I suggest that it should be described "Jeongganbo was invented in the period of Sejong" or "it is supposed that Jeongganbo was invented by Sejong" rather than presenting "Sejong made Jeongganbo" or "created" until revealing the clear evidence about the subject of Jeongganbo.

• Journal of Korean language education
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• v.29 no.3
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• pp.83-115
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• 2018

This research presents principles and models for developing textbooks for business Korean to be used at the King Sejong Institutes overseas targeting Korean learners with vocational purposes. The principles of the business textbooks are based on research by Hyunjin Kim et al. (2018) which contains needs analysis and results from analyzing textbooks. The principles were also extracted from investigating previous researches relating to business Korean and characteristics of teaching and learning Korean with vocational purposes. The principles can be summarized to 1) connectivity with general purpose Korean textbooks of "Sejong Korean", 2) centrality with the users, and 3) improving communication skills for vocations. Additionally, textbooks based on these principles were tested in August and September of 2018 in China and Korea; usefulness of the textbooks were then examined by experts in Korean education. After the process, "Sejong Business Korean 1, 2" each with 18 chapters were written.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.1
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• pp.78-88
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• 2018

The purpose of this study is to establish a utilization plan according to the cultural value of Placenta Chamber of King Sejong's Princes. We used SNS to analyze various public perceptions and opinions, collected data and analyzed it. The collection period is from June 01, 2007 to June 30, 2017 (for about 10 years), We gathered data from blogs, cafes, and Knowledge IN that contain keywords related to 'Placenta Chamber', 'Placenta Chamber of Seongju', 'Placenta Chamber of King Sejong's Princes'. and Analyzed using the text mining method of the big date program. Based on the main results of the big data analysis, Placenta Chamber's method of utilization was derived. As a result, major keywords such as King Sejong Great, Prince, Sungju, Feng Shui, culture, preservation, blessing etc were derived. The association of 'world', 'heritage', 'cultural heritage' is high, and the connection of 'Placenta Chamber', 'Gyeongsangbuk-do', 'cultural property' is high, and it was able to confirm the value of Placenta Chamber as a world cultural heritage. and It is necessary to induce visitors to feel stimulation or change of surroundings through facility refurbishment and environmental improvement around Placenta Chamber.

• Journal of the Korean Geosynthetics Society
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• v.12 no.2
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• pp.43-53
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• 2013

Environmental monitoring analysis were analyzed for the period from 1988 to 2007 near King Sejong Station. Extreme environment structure behaviors(Marine Biology Lab.) were evaluated using monitoring sensors developed commercial sensors. Also when installing the sensors ambient environment of the King Sejong Station, to analyze the measured data and the comparative behavior of the structure were analyzed. As a environmental monitoring analysis result at King Sejong Station temperature, sensors were installed to withstand about $-25.6^{\circ}C$ or less and 49.5m/s. They were needed that the height of 225.0cm or more to be installed during the installation. For several monitoring sensors used in Antarctic, temperature, snow and strong winds were very sensitive to the atmospheric environment. Quite often a camouflage(animals and humans) would make it necessary to provide housing for monitoring sensors. Therefore, protection system developed for these sensors were to protect the sensors and data logger. Protection system the newly developed, is economical, easy to install even in harsh environments. Based on the measurement result of the one year, consider electrode applicability of the protection system, it was confirmed that the behavior of the structure is also predictable.