• Korean Journal of Child Studies
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• v.30 no.2
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• pp.195-209
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• 2009

This study analyzed aspects of multiple intelligences related to rhythm, melody, understanding and representation of traditional Korean music. Subjects were 60 4-to 6-years-old children. Instruments were the Children's Korean Traditional Music (KTM) Ability Test (Park 2006)and Korean Multiple Intelligence Development Assessment Scale-My Young Child (MIDAS-MYC, Shearer, 1996). Data were analyzed by correlations and t-test. Findings were that (1) average scores on KTM rhythm and understandings were higher than melody and representation. (2) Traditional rhythm ability correlated most with linguistic intelligence. (3) Multiple intelligences by representation ability for KTM differed significantly in Linguistic intelligence and relationships to Naturalist, Musical, Logical-mathematical, Interpersonal, and Bodily-Kinesthetic intelligences.

• The Journal of the Korea Contents Association
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• v.22 no.5
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• pp.600-610
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• 2022

While Korean piano pedagogy has seen a remarkable growth, the relatively weak attention to intermediate level has emerged as a pending problem. The limited literature review, specifically the lack of playing Korean original works, has been considered as a serious issue. To emphasize the usefulness of Kim Kukjin's "Pieces of Korean Melody for Piano" as an intermediate work, this study presents practical teaching guidelines by classifying of difficulty in his 25 pieces and providing step by step learning goals and teaching plan. The difficulty stage was based on Jane Magret's 10-step classification table for comparison with other intermediate piano literature, and this study more specifically classified Kim's pieces according to Korean melody, rhythm, and texture. As a result of the difficulty classification, it was found that the pieces from stages 4 to 10 was organized to systematically and comprehensively learn step by step from the most basic progression to Korean 'Jangdan' rhythm patterns, various articulations and decorations that express 'Sigimsae' of Korean Traditional Music, and heterophony texture. In addition, this study proposed the order of pieces for the effective teaching according to the characteristics and difficulty of the pieces. This study suggests that the findings lead to the expansion of Korean intermediate literature study and the revitalization of Korean original works teaching method.

• The Journal of the Korea Contents Association
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• v.19 no.5
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• pp.572-577
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• 2019

This study aims to classify and examine Changjak Gukak composed by composers who majored in Western music and help the composers with the composition of Changjak Gukak. As a result, it was investigated that Korean traditional musical elements have been used on the basis of the traditional or modern Western composition technique. The traditional composition techniques such as motive, theme, keys, homophony, contrapuntal methods, fugue form, sonata form, baroque concerto form and borrowing of Western art works have been used, and the contemporary composition techniques such as timber melody, a-tonality, irregular meter, poly rhythm and aleatory have been used. In addition, it reflects the Korean expression and identity by applying the Korean traditional instruments, Sigimsae, Jangdan, traditional scale and mode, form and melody.

• Korean Journal of Childcare and Education
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• v.8 no.5
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• pp.253-274
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• 2012

The purpose of this study is to make establishing criteria for Korea traditional nursery rhyme suitable for children and apply them effectively in early child education. The researchers of this study are firstly concerned with establishing criteria for Korean traditional nursery rhymes suitable for children. Secondly, they are concerned with establishing Korean traditional nursery rhymes suitable for children which are selected by following the established criteria. A Delphi survey was performed with early childhood educators and 30 related professionals to establish criteria for Korean traditional nursery rhymes suitable for children. The SPSS 12.0 program was used to calculate the standard deviation and average. Through this process the final seven criteria selected are: 'traditional play spaces and fun of play language is showed', 'lifestyles and emotions of children in the past is expressed', 'easy to understand story', 'the content is interesting', 'assisting in the development of children', 'easy to sing melody', and 'simple and repetitive in rhythm'. And 112 songs appropriate to the children were selected based on these criteria. The lyrics of the songs mainly expressed 'the joy of play.' it means songs need to combine with play to succeed to the next generation.

• CELLMED
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• v.6 no.3
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• pp.20.1-20.3
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• 2016

Changbu-taryung has long been known as a one of the best folksong in Korea. There had been no report for music therapy on stress management. The purpose of this article debates that Changbu-taryung may has beneficial effect on stress management. As a wonderful food can make people recover of disease, listen to delightful music can be a healthy way of healing our emotions. People tend to listen to glad music when they want to progress their mood because peculiar qualities comprised in that music entertain us and promote emotional state. Tae-yong Jeon is a creative destroyer and an out-of-box singer on Changbu-taryung. He has a good command of melody and rhythm. And he was singing with diverse and sweet tunes. That is where he is at his strongest. He rejected the conventional singing that would confine him to particular skill. As if he does enjoy the pleasure of his own cooking. The author recommend you listen to delightful and shapeshifter music when you often feel stressed out. This article indicates that Changbu-taryung may have beneficial effect on stress management.

• Korean Journal of Heritage: History & Science
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• v.38
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• pp.5-42
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• 2005

Based on a field investigation of intangible cultural asset # 2, author Sir Shin Seok-bong of Daejeon Metropolitan Cityinvestigated the music of Antaek-gut, which is the base and core of Anjoon-gut, and found the following musical features: A Jang-gu(drum) and Kkoaengkwari(gong) were used to recitethe Sutra(kyungmoon) of Anjoon-gut. The Jang-gu, located on the right side, played an accompaniment role with regular beats when the Sutra was recited. The Kkoaengkwari, located on the left side, played the role of covering the caesura of the Sutra passages, so it is played with various rhythmic variations in accordance with Kojang(鼓杖). This is one way of playing Korean national classical music that has temporary caesuras, depending on the rector's bre! ath or the contents of a Sutra during the Sutra chanting, with the Jang-gu covering the pause with its variation. In other words, when being played in concert, the instruments that play the main melody are at rest while another instrument takes its turn to play the main melody as a form of prolonged sound. The rhythmic cycles of the sutras of Antaek-gut recited with this instrumental accompaniment consist of five types; a) Woemarch-jangdan (a single beat) of 4 meter by 3 bit, b) Dumarch-jangdan (two beats) of 8 meter by 3 bit, c) Saemarch-jangdan (three beats) of 4 meter by 3 bit with a fast tempo, d) Mak-gojang, uniform beats with a standardized rhythm, and e) incomplete beats deviated from the regular beats. Sir Shin Seok-bong chanted Chang (唱), a traditional native song which he called 'Cheong (淸)' with a cycle of 'Dumarch-jangdan' throughout the places of Antaek-gut. Only 'Toesonggyung' a chant for the gate that was the last location of the Antaek, was chanted with a cycle of 'Woemarch-jan! gdan'. In addition, 'Saemarch-jangdan' and 'Mak-gojang' that had comparatively faster tempos than the former two jangdans, were played without a chant when a female shaman was dancing and catching her spirit-invoking wand. The 'Saemarch-jangdan', particularly, was played while dancing began at a relatively slow tempo, then proceeded at a violent tempo and then back again to the slow tempo. This shows one of the representative tempos of our music with a slow-fast-slow tempo. The organizational tones were 'mi-la-do'-re'', and its key tones of 'mi-la-do'' were performed with perfect fourth and minor third, which was the same as those of Menari-tori. However, it did not show a typical Sigimse, an ornamental tone, of Menari-tory, whose first tone, 'mi', is vibrated and its Sigimse is gliding down from the tone 're' to 'do'. That is because the regional tone-tori of Chungcheong-do have a relatively weaker musical expression than that of Gyeongsang-do. In addition, the rhythmic types in accordance with the words of a song for the Antaek-gut music had a comparatively faster tempo than the other sutras. Also, it was only with 'Toesonggyeong' that the tone 'la' continuously appeared throughout the melody and showed 'a syllabic rhythm', while other places consisted of either a 'syncopation' or 'melismatic' rhythm. Finally, according to a brief investigation of the tone organization in accordance with each sutra, the tone 'la' was given more weight. The tone procedure showed a mainly ascending 'la-do'' and the descending 'la-mi' with minor third and perfect fourth. Also, the overall tempo proceeded with M.M.♩.=116-184, while the tempo for the Gut proceeded with M.M.♩.=120-140, which was suitable for reciting a Sutra.

• Cartoon and Animation Studies
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• s.49
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• pp.589-610
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• 2017

This study aimed at examining the music world of the composer Muczynski, who played an important and meaningful role in the various experimental trends of music which began to appear in the early $20^{th}$ century, and his works, thereby understanding his relationship with the development of music of various genres today. In the study, his pieces of piano music among his works, which formed the basis for his music, were analyzed. The study examined stylistic characteristics, that is techniques of various types including form, melody, harmony, tonality, rhythm and structure, and introduced the composer's growth in terms of music and philosophical background. Muczynski, the composer who showed the characteristics of neoclassicism, neoromanticism and neobaroque in contrast to the various forms of the $20^{th}$ music, namely music of free styles including atonal music, twelve-tone technique, avant-garde music and electronic music, used traditional forms. However, the characteristics of his works are very free. In addition, in the 1960s, he participated in the production of documentary movie music, creating very creative and sensational music. Muczynski's music has the features of tonality and shows neoclassic and neoromantic features including economical idea, lyrical melody, bitonality and nine-note scale. His music, therefore, is being evaluated as very creative and valuable and is largely significant in that it has provided a good basis for the development of modern movie music and jazz music today.

• (The) Research of the performance art and culture
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• no.42
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• pp.257-290
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• 2021

The Wonju Nongyo (agricultural work song) is geographically classified as eastern minyo (folk song) which has many distinctive, regional features such as tunes, forms and the use of a melodic line. There has been growing attention to the transmission value of the nongyo including the Wonju Eorirang of the Wonju Origol Nongyo and its region of origin. The Wonju Nongyo is of great value and worthy of preservation in the western part of Gangwon Province. For this reason, it seems fairer to say that a focus should be directed towards establishing the identity of the song and increasing the contextualisation of transmission. At the same time, the preservation association's efforts in passing the traditional song down and education activities fairly deserve equal attention. In addition to the way the folk songs are handed down, a discussion on the facilitation of their use will be required. An in-depth discussion about the restoration and use of the song will be encouraged in a multifaceted manner. Unfortunately, few of the previous literatures on nongyo has gone so far as to investigate Arirang as a separate research topic. In fact, the Wonju Origol Nongyo should be viewed as an intangible cultural asset that paved the way for performance artistry of the Korean agricultural work songs to be seen at a national folk art festival. From the perspective of regional characteristics (traditionally termed "tori"), the Wonju Eorirang represents the cultural value of the manners and customs of our locals which constitute unwritten and neglected literary property and musicality of the song. Particularly, a more attention should be paid to making a record of woodcutters and diversity of farmers' small cooperative groups. The existence of the Wonju Eorirang indicates that the melodies to which the song are sung in Nongyo are of infinite variety. A minyo-singer unfolds various journeys of life through various modes and structure of epic chants, ranging from first encounter, love to marriage, realistic problems to relationship with husband's family and death. The epic chant of the Wonju Origol Nongyo contains a rich variety of regional sentiments about life. In particular, the epic chants of the Galtteukgisor and Ssoeltteukgisori are a genius example of sexual satire and a sense of humor. In the past, the agricultural work songs were rhythmic songs served to synchronize physical movements in groups, coordinating tasks in upland farming and rice paddy with the usage of catchy, repetitive verses easy to pass down. The Wonju Origol Nongyo is a precursor of the work songs which took the farming activities a notch higher to be part of the excitement and festivals. In the context of transmission, a festival serves to demonstrate the value of history and life. The value of the Wonju Eorirang should be appreciated and a concerted effort should be made to find a way to facilitate the transmission of the folk song. A folk-singer is a traditional oral poet and a storyteller of minyo and the forms and species of melody solely depend on the signer. The combination of performance and witticism is shown by the singer freely expressing himself. The Origol Nongyo symbolizes ethnic arts cleverly combining playful effects such as tune, rhythm and old agricultural work of the region. It is to be hoped that much of the efforts is directed to designating such folk songs as the archetype of a cultural heritage. In terms of the foundation on which the folk songs are transmitted, the usage(Performance Content) of a community would be an alternative.