• Speech Sciences
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• v.11 no.2
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• pp.165-177
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• 2004

Western singers voice have been studied in music science since the early 20th century. However, Korean traditional singers voice have not yet been studied scientifically. This study is to find the physiological and acoustic characteristics of Pansori singers voices. Western singers participated for comparative purposes. Ten western singers and ten Pansori singers participated in this study. The subjects spoke and sung seven simple vowels /a, e, i, o, u, c, w/. An analysis of Glottal image was done by Scope View and acoustic characteristics of speech and singing voice were analyzed by CSL. The results are as follows: (1) Glottal gestures of Pansori singers showed asymmetric vocal folds. (2) Singing vowel formants of Pansori singers showed breathiness based on Spectrogram. (3) Music formant of western singers appeared in around 3kHz area, however, Pansori singers formant appeared in low frequency area. Modulation of vibrato showed 6 frequency per sec in case of western singers. Pansori singers showed no deep modulation of vibrato on spectrogram.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.22 no.2
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• pp.111-114
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• 2011

All singers can often develop voice trouble secondary to vocal abuse and overuse, but it is well known that traditional Korean singer (pansori) develop voice disorders more frequently than western style sunger. While laryngological concern for voice disorders arising in professional singers has received some attention, empirically motivated investigations of the underlying acoustic features of the singing voice have been relatively limited. Since all singers have a good knowledge of the voice and voice training, they would hardly give consent for treatment to a doctor unless he understood their desire to maximize their voice quality. The components of this report are composed of breathing, basic ekement, and vocalization, essencial fact, for getting a perfect voice for pansori. The breathing is based on hypogastric breathing. The main functions of breathing are energy and power of utterence, tempo of rhythm and seperating paragraph and controlling feelings according to dramatic situation. Vocalization is based on general vocalization. Main uses of it are maintaining singer's tone and harmony of cosmetic dual force.

• (The) Research of the performance art and culture
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• no.36
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• pp.103-135
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• 2018

The objective of this study is to re-examine the theory of Pansori (Korean musical storytelling genre) originating in Chinese tale-song literature. The said theory, first presented by Kim Hak-ju, succeeded in confirming the common points and association between Pansori and the Chinese tale-song literature, but failed to present the supporting ground for proving that Pansori originated in the said Chinese genre by comparing the contents of works and their performance type. In actuality, it was confirmed that the common factors of Pansori and the said Chinese genre naturally resulted from the performance situation where both genres should involve one singer chanting epics and simultaneously performing various roles and functions. In addition, it was confirmed that such identity of performance environment made the Pansori clown theory and the Gosagye tale-song(鼓詞系講唱) theory very similar. In addition, it was confirmed that, for one singer to present the wide spectrum of epic to the audience, the realistic description was the main part of literary style of both tale-song literature and Pansori, and furthermore it was revealed that, in the literary style of both tale-song literature and Pansori, the mixed use of time and temporal penetration were free. If a long performance of musical storytelling can be conceptualized in terms of 'tale-song' or 'oral epic', the Chinese tale-song literature and Pansori had similarity in the bigger frame of 'tale-song' or 'oral epic' and yet developed to have their own features.

• Proceedings of the KSPS conference
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• 2007.05a
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• pp.143-145
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• 2007

Muscle groups that are located in and around the vocal tract can produce audible changes in frequency and/or intensity of the voice. Vocal vibrato is a characteristic feature in the singing of performers trained in the western classical tradition and vibrato is generally considered to result from modulation in frequency amplitude and timbre. Vocal tremor is also characterized by periodic fluctuations in the voice frequency or intensity and vocal tremor is symptom of a neurological disease as Spasmodic dysphonia , Parkinson's disease. Vocal vibrato and Vocal tremor may have many of the same origins and mechanisms in the voice production systems. The purpose of this study is to find acostic character of Korean traditional song Pansori singer's vibrato and Spasmodic dysphonia patient's vocal tremor. twelve Pansori singers and seven Spasmodic dysponia patients participated to this study. Power spectrum and Real time Spectrogram are used to analyze the acoustic characteristics of Pansori singing and Spasmodic dysphonia patient's voice The results are as follows; First, vowel formant differences between Pansori singing and Spasmodic dysphonia patient's voice are higher F1, F3. Second, The vibrato rate show differences between Pansori singing and Spasmodic dysphonia patients;$4^{\sim}6/sec$ and $5{\sim}6/sec$ Vibrato rate of pitch is 5.7 Hz ${\sim}$ 42.4 Hz for Pansori singing , 3.8 Hz ${\sim}$ 27.9 Hz for Spasmodic dysphonia patients ;Vibrato rate of intensity range is 0.07 dB ${\sim}$ 8.26 dB for Pansori singing and 0.07 dB ${\sim}$ 4.81 dB for Spasmodic dysphonia patients

• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

• CELLMED
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• v.10 no.4
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• pp.28.1-28.2
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• 2020

The purpose of this study is to find out why Whitney Houston gave healing to people around the world based on Shin Jae-hyo's gwangdaeron (clown theory). In Korean music, gwangdae (廣大, the title of clown) is a nickname dedicated to outstanding artists. Not only is it a clown that cannot be a person, but it does not give a clown a nickname for doing art activities. This is why Shin Jae-hyo, a pansori (Pansori epic chant) theorist and critic in the late 19th century of the Joseon Dynasty, presented the virtues of outstanding artists. There are four outstanding clown conditions claimed by Shin Jae-hyo: appearance (人物), words (辭說), perfect vocal music (得音) and wonderful movements (neoreumsae). These conditions show how difficult it is to be a gwangdae (a prominent artist), or an accomplished artist. We think Whitney Houston is a famous singer who fits these conditions. In her heyday, she was optimized for Shin Jae-hyo's clown theory, while her post-2007 moves are regrettable. However, it is clear that he is a singer who fits well with the title of America's greatest clown. In conclusion, I felt that the best emotion through music was the best healing, and that the best singer was becoming the best healer.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.22 no.2
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• pp.106-110
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• 2011

Western classical singing voices are different from those of pop song singer's singing voices as well as traditional Korean singing such as Pansori. We anlalysed the singing voices from three different categories with using free application programs available at the usual smart phones : sound level meter and Spectral View Analyzer and fiberoptic rhinolaryngoscopic evaluation. The intensity of voice produced by a classical western singer was 11 dB louder than that produced by a pop song singer. Source sound, glottic sound, as well as harmonic sound and singing resonant sound (Singer's formant) are much more prominent. When evaluated under video-rhinolaryngoscopy during singing, the resonance cavity especially oropharyngeal cavity and hypopharyngeal cavity are widely opened during singing of the western classical singer than those of the traditional Korean singer's singing. Difference of singing methods including producing the glottal sound, respiration and resonance are discussed. Possible explanation of development of 'Singer's Formant' is discussed.

• (The) Research of the performance art and culture
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• no.23
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• pp.63-103
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• 2011

This paper inquires closely into the background of pansori gosu(drummer) and his social position based on documents and oral materials and the performance features of gosu in the entire process of pansori performance, 'preparation', 'performance' and 'aftermath', focused on the relationship between the changja(singer)-gosu. In the past, some gosus were ex-tightrope performers. Their social position and working conditions were better than that of the ex-tightrope performers but were worse than that of the pansori singer. After 1910's, people formed some special sense about the gosu due to the change of the space for pansori performances and the technological advances on the media, and gosu's conditions improved. The theory of pansori drum gradually began to be established well. The function and the role of gosu in the whole process of pansori performance may be summarized as follows. To begin with, the training with various and a lot of singers is required in the 'preparation'. Rehearsals are divided into individual practices and joint practices, and the latter can be controlled by the level of the capacity of gosu and the degree of the experience between chanja-gosu. Next, bobiwi(flattering drumming) and chuimsae(encouraging remarks) are important in tbe 'process'. The gosu has to share the speed of one jangdan(rhythmic patterns) and the accent of the sori and adjust his enery. Besides, he has to acknowledge the naedeureum(beginning sign) and reply with changja's singing. In formal performances, working in harmony with changja and gosu and their joint experiences are necessary for the gosu; in pansori contests, giving chanja a stability; in contests for gosu, drumming skill, position, chuimsae; in small performances and new adaptation of pansori, cheap fees and positive response of the transformational play or ad-lib; in lecturer concerts, reacting quickly to rapidly changing situations. Chuimsae is way which gosus and audiences express their feeling together, however, its context and sound are different. Finally, 'aftermath' is a process the pair of chamgja and gosu mutually evaluates about performance or audiences estimate that.

• (The) Research of the performance art and culture
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• no.32
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• pp.243-267
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• 2016

Deonum preexisted prior to it being named. Of course, the object designated as deonum at that time is not the same as the object designated as deonum at this time. There have been historical transitions in the definitions of the term deonum. This paper traced the term deonum to its origin from another angle. On closer inspection about the possible use as the everyday language and the technical language in the field of arts except for pansori, the term deonum was essentially a word for a tune. Deonum was in the same category as deureum, a great word in the Korean traditional music. But the definition of deonum as a tune used in the early part of the former period of eight master singers or before that gradually disappeared for a long time. When the term deonum as an everyday language first entered the field of pansori, it meaned characteristic tune singed by master singers. As pansori develop artistically, the term deonum changed into the word refers to the sori part, and this example become common in the former period of eight master singers. Most sori part acknowledged as a deonum in the former period of eight master singers was a deonum as a creative repertories, the master singer's creative work, but a deonum as a popular repertories, the master singer's specialty, began to be acknowledged as a deonum after the latter period of eight master singers. The differentiation between the definitions of deonum as a sori part occured. And most sori part acknowledged as a deonum after the modern era of five master singers have belonged to a deonum as a specialty. In this context, it was confirmed that Cheong Nosik wrote Joseonchanggeuksa, with carefully considering the historical change of definitions of deonum. This book includes three definitions of deonum, a deonum as a tune, a deonum as a creative work, and deonum as a specialty.

• (The) Research of the performance art and culture
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• no.36
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• pp.289-312
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• 2018

Pansori has been passed down over several generations and over time have undergone continued change in accordance with the times, as well as the skills and ability of the singer. Policies regarding intangible cultural treasures were established to preserve and promote the continuing tradition of art forms including Pansori and thus must spare no effort in supporting and preserving the genre. As such, for proper implementation of the newly legislated law, it is necessary to review the agents who pass down the tradition of Pansori and whether there are any areas that need to be changed in terms of our perception of culture in general. Pansory in the $21^{st}$ century features both contemporary aspects and mass appeal and have undergone many changes in how it is enjoyed. It is our responsibility therefore, to establish how the art and universality of Pansori should be promoted. From this perspective, this study reviewed the evolution of law on intangible cultural treasures, the current status of intangible cultural treasures being passed down with a focus on national treasures and those of Jeonbuk Province to shed light on issues. Diversification is needed in the number of those who carry this intangible cultural treasure, as well as the number of categories. To that end, a survey index or practical ability index must be taken into account for the application and designation of intangible cultural treasures. The study also noted issues of the categories for designation as intangible cultural treasures and discussed directions for improvement. In the case of Pansori, suggestions for improvement were presented for the designation of skilled artists by school, regular surveys and regular application, increased role of artists for increased mass appeal, survey of regional singers, supervision and monitoring of skilled artists and establishment of a manual for the education on how to pass down the art form. In doing so, efforts should be made to make the passing down of Pansori more active and related education more systematic. Since we are in the early years of the law on intangible cultural treasures being implemented, areas of improvement will continue to be identified. It is however certain that the proper support for the art form to be handed down should be done in a way where law and culture are complementary given that Pansori is not just a Korean tradition, but a tradition of mankind.