• CELLMED
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• v.6 no.4
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• pp.25.1-25.2
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• 2016

The purpose of this study is to examine Ssukdaemeori of Chunhyangga may have effect on depression for music therapy. Ssukdaemeori of Chunhyangga, one of the five surviving stories of pansori (a long epic song), is a touching, sad song in Han Ak (Korean music, 韓樂). In this paper, the author reports on the very sad song, Ssukdaemeori. While listening to the song, Koreans feel the same amount of despair when Ssudaemeori's heroine, Chunhyang, cries out in hopelessness and grief. The author argues that Koreans get to see the saddest parts of themselves reflected back at them in the sorrowful sight of the heroine. It is also believed that Ssukdaemeori has contributed to the healing of Koreans' indignation and pain. For example, depression is currently a social problem. However, listening to sorrowful music like Ssukdaemeori can have a good effect on people feeling sad and depressed.

• Proceedings of the Korean Society of Crop Science Conference
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• 2018.04a
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• pp.85-85
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• 2018

• Proceedings of the Korean Society of Crop Science Conference
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• 2018.04a
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• pp.86-86
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• 2018

• Proceedings of the Korean Society of Crop Science Conference
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• 2019.04a
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• pp.187-187
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• 2019

• (The) Research of the performance art and culture
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• no.37
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• pp.157-186
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• 2018

Ulsan Soeburi song was reenacted in the 1980s based on the testimony and songs of late Choi Jae man (1987 death), the last blacksmith of the iron production plant at Dalcheon dong, Ulsan in August 1981. The purpose of this study is to analyze Soeburi song from the musical perspective based on 13 kinds of data including video in 1981, and confirm the changing patterns in the tradition process. The derived results are summarized as follows. In the results of examining Soeburi Song data in 2017, the percussion instruments consist of kkwaenggwari 2 (leading small gong 1, follow small gong 1), jing 2 (large gong 2), buk 4 (drum 4), janggu 4 (double headed drum 4), taepyongso 1 (Korean shawm 1), and Jangdan (rhythm) consists of five such as Jilgut, Jajinmori, Dadeuraegi, Deotbaegi, Jajin Deotbaegi. The vocal songs are sung accompanied by the Deotbaegi Jajin Deotbaegi (beat) of quarter small triplet time, or without accompaniment. The scale is mostly Mi La do's third note or Mi La do re's fourth note, and the range does not exceed one octave. All the cadence tones are the same as La. From the results of observing Soeburi song performance until today after the excavation in 1981, it is found that there are four major changes. First, the composition of the music is differentiated into 'long Jajin (slow fast)', and , , and are added. Second, the singing method is based on 'single cantor + multi post singers' since 1980's reenactment, and a single post singer was also specified from time to time. In addition, , which was performed in 2013, became the foundation of . Third, a melodic change of was observed. All beat structures are quarter small triplet time, but the speed gets slow, Mi La do's three notes are skeletonized to be corrected with high re and low sol, and then the characteristics of Menari tori (the mode appeared in the eastern province of the Korean peninsula) are to be clear. Lastly, the four percussion instruments such as kkwaenggwari, jing, janggu, and buk are frequently used, and depending on the performance, sogo (hand drum), taepyongso, yoryeong (bell) are also added. Jangdan played Jajinmori, Dadeuraegi, Deotbaegi and Jajin Deotbaegi from the beginning, and thereafter, the Jilgut Jangdan was added. Through these results as above, it is confirmed that at the time of the first excavation, a simple form of such as has been changed into a male labor song, the purpose of which has changed, and that the playability has become stronger and changed into a performing arts.

• Fashion & Textile Research Journal
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• v.9 no.4
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• pp.391-400
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• 2007

This purpose of this study is to announce the research for the formative characteristics and the constructive characteristics for the 23 pair of pants excavated from the tomb of Yeosan Song's family at Mokdal Dong in Daejeon. Men and women wore the open-type over the close-type pants. Song Hyo-sang and Chungjoo Park wore the 1 or 2 pairs of the open-type pants over the 3 pairs of close-type pants. Song Hee-jong and his wife Sonhung An wore a pair of the open-style pants over the 1 or 2 pairs of pants. It was due to the shortage of goods by the war that Song Heejong had less shrouds than Song Hyosang. The pants were almost made of the cotton and the silk. The open-type pants worn inside was made of the cotton but outside was made of the silk. That time the cotton was used for the unlined underwears for the health and the protection against the cold and the hot. The silk was used for the outwear. In the construction type, 12 pairs of pants were unlined, 6 pairs of pants were quilted, 4 pairs of pants were padded, and 1 pair of pants was lined. All unlined were the close-type and the quilted and padded pants were the open-type, which were worn inside. Lined type was just one. In the wearing order of shrouds, type, textile, and constructive type, Song Hyosang and Chungjo Park were similar, Song Heejong and Sonhung An were similar.

• Journal for History of Mathematics
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• v.28 no.3
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• pp.119-132
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• 2015

This survey is the second part of the history of science of Song and Yuan dynasties and will covers the period from Jin to Yuan. Following the first part, we look at the calendrical astronomy, mathematics and medicine. In this survey we again follow Yabuuchi's work on the history of science of Song and Yuan period and Du Shiran's work on the history of science of China. We start from the sciences and mathematics of Jin which inherited those of Northern Song and see how they influenced the whole China including Yuan and Southern Song. As a conclusion the tendency to practical usages in the Southern Song as well as the suppression of Han people in Yuan prevented developments of theoretical sciences in Yuan and Ming later.

• Animal cells and systems
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• v.9 no.2
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• pp.47-55
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• 2005

Avian vocalization has been main topics in studying animal communication. The structure and usage as well as development and function of vocalization vary enormously among species and even among populations, and thus we reviewed the general patterns of song learning and the consequences of song communication in birds at the behavioural level: first, we compared the different learning phenomena between non-songbird and songbird, and we investigated the learning process of songbird both in the field and in the lab, which are needed to fully understand vocal communication. Second, we discussed a recent trend of sexual selection hypothesis explaining the structural and functional diversity of song in songbirds with repertoire and presented how the repertoire is actually used between neighbours based on individual recognition.

• Animal cells and systems
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• v.13 no.1
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• pp.91-96
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• 2009

The size of song repertoires mainly provides evidence for explaining sexual selection for female choice as well as male-male competition. We investigated the role of oriental great reed warbler songs (Acrocephalus orientalis) of breeding territorial males. Early arrived males possessed larger song repertoires, paired earlier, and tended to become polygynous. No correlation was found between arrival date and territory size, but polygynous males significantly occupied larger territories than non polygynous males. Song sharing was low among males and the degree of similarity did not relate with spatial distance. Our results suggest that song repertoire of the oriental great reed warbler males play a role in female choice, where territory quality may affect male pairing success.

• Journal of architectural history
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• v.25 no.3
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• pp.47-62
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• 2016

The purpose of this study is to clarify the characteristics of Zen Buddhist temple's building composition of the Northern Song dynasty, through the analysis of literature historical material, such as Seonwon chenggyu(禪苑淸規), Cham cheontae odaesan gi(參天台五臺山記) and so on. The building composition method of Zen Buddhist temple in Northern Song dynasty, which grasped from the Seonwon chenggyu, reflects the actual situation of the temples in that time. And it was ascertained that, the Zen Buddhist temple's building composition of the Northern Song dynasty was basically same to that of Southern Song dynasty. And the comparative analysis was attempted between Zen Buddhist temples and that of other Buddhism sect described in Cham cheontae odaesan gi. From this analysis, the common features as Buddhism temple and the characteristics of building composition as Zen Buddhist temple was clarified.