• Journal of Korean Library and Information Science Society
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• v.38 no.3
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• pp.425-454
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• 2007

This study is to present a draft for the formulation of uniform title for sound recordings of the Korean traditional music. The draft as the results of this study is summarized as follows: In a musical work of a type of non-composition, the popular name is put into square brackets as a uniform title of court music and folk music in the old Korean traditional music, and the composer's original title is put into square brackets as a uniform title of the new Korean traditional music, but the medium of performance and others are omitted except an identifying element. However, for the formulation of uniform title of a type of composition in an instrumental music, the descriptive form consisted of the order of 'name of one type of composition, medium of performance, serial number, opus number, key, and a descriptive word or phrase' is put into square brackets as a uniform title and the identifying elements. And in the vocal music of the old Korean traditional music, the following medium of performance is used: in vocal choruses, a type of voices; in solo voices, a type of solo voice by sex, but one of the new Korean traditional music follows the descriptive form of the western classical music.

• (The) Research of the performance art and culture
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• no.36
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• pp.603-647
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• 2018

During the Japanese colonial era, Chosun Central Young Men's Christian Association Hall, Gyeongseong Public Hall, or Bumingwan was used as multipurpose space where various performances or events were held. Although traditional music performed in each of the places did influence the remaining of traditional music in existence as well as the vitalization of traditional musicians' activity, since these places were mostly for Western music or other genres, no research has been carried out to study the performance of traditional music there in detail. The purpose of this study is to understand the aspects of performing traditional music in multipurpose places mentioned above. Reviewing newspaper materials of the time, this author has examined the aspects of performing traditional music in each of those places in terms of the forms of performances performance programs performers as well as performing groups the aspects of development. First, this researcher considered in what forms traditional music was performed in each of the places mostly. About performance programs, this author divided them into instrumental music, vocal music court music, and folk music. Regarding performers, this study divided them into instrumental music and vocal music professional performers and unprofessional performers male and female master singers and gisaeng and figured out the importance of each of them in different places. Also, concerning the appearance of performers and performing groups, this researcher studied how it was associated with the space, and about the aspects of performance, how it was developed in different periods was examined. In that process, this author has learned that the aspects of performing traditional music in the space were significantly influenced by the characteristics of each space and has clearly and concretely understood performing programs as well as the aspects of performers and groups' activity. With this research as an opportunity, this author expects that research will be actively conducted on the performance of traditional music in each of the places that have not been studied yet and it can contribute to figuring out the development or trends of performing traditional music during the Japanese colonial era.

• (The) Research of the performance art and culture
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• no.35
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• pp.61-92
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• 2017

During the Japanese colonial era, traditional music performances were gradually diminishing and weakening in the particular condition of colonization. Meanwhile, from the time of enlightenment, Western genre performances were becoming vitalized with the influence of Western civilization that began to be spread steadily throughout the society. In that situation, traditional music performances tended to be mixed performances accompanied by Western ones, not independent performances. Mostly, they were accompanied by Western music, and also, they were performed along with other genres like plays, lectures, movies, dances, or magic, too. Such form of mixed performances accompanied by Western genres became even more vitalized in the 1920's and came to be positioned as a form of traditional music performances. Therefore, research on the forms of mixed performances between Western genres and traditional music is meaningful in examining the forms of traditional music performances that have not been studied in the history of Korean modern music and understanding the trends of traditional music performances which were generally found in the Japanese colonial era. However, such research has hardly been conducted concretely yet. Accordingly, concerning the forms of mixed performances between Western genres and traditional music in the 1920's, this author considered the background of vitalizing mixed performances between Western genres and traditional music mainly with newspaper articles of the time and their formal characteristics. Regarding the background of vitalizing the forms of mixed performances between Western genres and traditional music, from the 1920's, the forms of mixed performances between Western genres and traditional music became more vitalized than before. The causes of that may include the increase of groups hosting or sponsoring such performances from the 1920's and also the dramatic increase of such performances in general. Moreover, the increased performances were conducted in the forms of mixed performances mainly in order to satisfy the people's needs becoming diversified with the distribution of Western civilization. Concerning the formal characteristics of mixed performances between Western genres and traditional music, this researcher classified western genres performed with traditional music and examined what characteristics were found in such mixed performances of tradition music by the types of Western genres respectively. First, in the mixed performances type of western-type genre and traditional music, the number of programs for the western music had significant portion in general, and there were certain ensemble of the western music and traditional musical instrument that was rare at this period of time, and it also had the characteristics of classifying two genres to perform for each title or date. Second, in the mixed performances type of the drama and traditional music, the traditional music is directly participated in the drama with the similar type to the theater, or performed independently from the drama with the role of interlude performance for the stage conversion of the drama to have the characteristics of performing in audience publicity or entertainment. Third, in the mixed performances type of the lecture and traditional music, the traditional music is played before or after the lecture to play the role to set the atmosphere and entertainment for the lecture as displaying the feature to perform for the audience attraction. And, fourth, in the mixed performances type of the movie and traditional music, the traditional music sometimes directly participated in the movie or had the features of independent performance, and there was a characteristic to perform for the entertainment after showing a movie.

• Proceeding of Spring/Autumn Annual Conference of KHA
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• 2008.04a
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• pp.276-280
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• 2008

Korean Classical Music, as the abbreviated wording for 'Korean Music', is being used as the indicating phraseology for our traditional music that distinguishing from Western Music, the foreign music or foreign-styled popular music. Since such Korean Classical Music has the different acoustic characteristics from Western Music, it needs its own performance space for the special exclusive-use of Korean Classical Music. Likewise, even though the demand for the performance space of special exclusive-use for Korean Classical Music where Korean Classical Music is rendering, is on increasing tendency due to the increase of national concern about traditional culture art, since it is being planned without any concrete standard or method that gratifies the supreme listening condition, it is the real situation that a securement of the satisfying acoustic condition is very difficult, after the completion of construction. On such viewpoint, in order to evaluate the acoustic characteristics of the performance space of special exclusive-use for Korean Classical Music, based on the subjective response which reflects human being's psychological attribute at first, this Study has attempted to extract the proper evaluation vocabulary for appraisement on Korean Classical Music. The abstracted vocabulary in such way would be used significantly for Subjective Response Evaluation in order for the evaluation on the Acoustic Characteristics of the performance space of special exclusive-use for Korean Classical Music.

• (The) Research of the performance art and culture
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• no.19
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• pp.281-315
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• 2009

Korean traditional music has been a process art which has been changed and re-created by musicians to mirror the musical aesthetics of contemporary people. Form court music, which has tried to keep the "authentic" form as much as possible, to folk music, which is closely associated to the people's life style, traditional music has expressed the life of the Korean people. From the early 20th century, traditional music faced a totally new music culture due to the Japanese annexation and rapid westernization. A new music network was established by modern theater and broadcast system. Many gayageum (12-stringed zither) masters were able to develop their own music in this new music culture. Female musicians came to exist because of a new music education system, called gwonbeon (school for female entertainers). Due to the rapid westernization, traditional music was becoming 'extinct'. The government's new system of Intangible Cultural Heritage tried to preserve traditional culture. Traditional music came to revive but became fossilized in order to preserve the 'archetype'. The so-called Living Human Treasures took power and became a social problem. The modern school education system was one of major factors for promotion of traditional music. However, it became one of main reasons for musicians to lose their musical creativity. Today, many performers and composers try to make a new composition and renovated musical instruments to suit the contemporary musical aesthetics.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.265-275
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• 2019

The purpose of this study is to validate scale of deteminants for watching Korean traditional music performances to activate the market by procuring and increasing Korean traditional music performance consumers that exhibit generally low preference in the performance market. Accordingly, FGI was conducted on seven employees and professionals in the arts and cultural sector and then open survey results were categorized into eight factors and a total of sixty-five items using the KJ method to find the viewing decision factors per consumer type of Korean traditional music performances. Afterwards, a six-factor and thirty-five items were extracted after conducting an exploratory factor analysis and confirmatory factor analysis was conducted to verify the structural appropriateness, and then the feasibility of the composition of Korean traditional music performance viewing decision factor scale was verified. Results of the analysis showed that first, for general Korean adults making decisions to view Korean traditional music performances, there was positive impact in the order of interest-creating factors, fame and talent factors, emotional and information factors, creativity factors, reasonable price factors, and social relation factors. Second, the general tendency of decision factors to view Korean traditional music performances showed relatively high levels in reasonable price factors and interest-creating factors among the Korean traditional music performance viewing decision factors, while emotional and information factors were found to be relatively low.

• Korean Association of Arts Management
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• no.54
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• pp.95-132
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• 2020

Many Korean traditional music such as Jongmyo Jeryeak and Pansori are listed as UNESCO World Intangible Cultural Heritage and are recognized for their value. However, compared to other genres, Korean traditional music shows various problems such as low proportion of paying audiences and bias of audience age. Previous studies in the performing arts point out that in order to solve these problems, it is necessary to analyze consumers. Existing previous studies on the Korean traditional music performance remained mainly to grasp the influence of performance quality of service on viewing satisfaction at the one-dimensional level. However, in order to meet consumer expectations, not only the satisfaction factor but also the reasons why performing art consumers do not consume performances. In addition, it is important to identify the factors that can cause service failure before the performance, to prepare countermeasures and to manage them continuously. In this study, the Kano-Timko model was used to classify the quality factors of Korean traditional music performances, and to identify the priority points of service failures of Korean traditional music performances through the potential customer satisfaction index. Through the results of this study, Korean traditional performing organizations and organizations will be able to prepare proactive countermeasures for service failures occurring in Korean traditional music performances and establish effective operational strategies to derive customer satisfaction. In addition, it is important to apply the concept of service failure in order to classify the performance quality of service that was identified only in a one-dimensional manner based on Kano model.

• Journal of the Korean Society for Library and Information Science
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• v.26
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• pp.75-112
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• 1994

The purpose of this study is to investigate the problems concerning 780 music division of DDC. The object is especially arrangement of 780 music in the 20th edition of DDC which is the complete revision. The result is summarized as follows : 1. Although music is an important subject in humanities, especially in arts, it was classified as one division (780) not class. 2. The arrangement of 780 music is severely west-oriented music theory, vocal music and instrumental music. 3. Classification number of 780 music becomes longer because of the limitation of decimal notation. 4. 780 music division of DDC neglects music theory and emphasizes music practicing, especially performance. 5. The assignment of classification number is unbalanced, especially between theory and practice, composition and performance, and among sub-sections of vocal and instrumental music. 6. Many important subject are omitted in DDC music schedule, for example, musicology and branches of musicology, composition and traditional instruments of many countries. 7. Employment of terminology is often improper and inconsistant.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.5-47
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• 2013

Among the styles of performing arts, perhaps the genre that has attracted the largest audience would be musical. Popularity of musical has brought diverse changes in our performing arts market, and, upon emerging another musical genre, called 'Korean Traditional Musical Comedy,' it has been well-received by the audiences. 'Korean Traditional Musical Comedy' is a word that are formed by merging two other terms such as 'Korean Traditional Music' and 'Musical (Comedy).' In the meantime, however, it has yet some problems in order to be defined as the genre that has concrete concepts. It is because the term such as Korean Traditional Musical Comedy was created being closely associated with a marketing purpose rather than a term that defines the characteristics of a genre of performing arts. Although this new musical genre has drawn attentions of many audiences by adding 'Musical Comedy' to 'Korean Traditional Music' that was not quite popular to the public, it still does not have any established forms so that there is a fine line between "Korean Traditional Musical Comedy" and another genre like traditional style folk opera ("Changgeuk"). Looking at the characteristics of the musical work called 'Korean Traditional Musical Comedy, in general, first of all, it is a performance where music and drama are played. Here, the distinctive characteristic of this musical is that 'Korean Traditional Music' is sung. And the kinds of Korean traditional musics being sung are mainly Pansori (dramatic story-singing) and folk-songs, and, in most cases, Korean traditional musical instruments are being used as accompanying music. In this paper, the researcher investigated the aspects of experiment centering around Korean Musical Group, Taroo. These days, various experiments has been repeated not only for the works of Taroo but other musical work presently called 'Korean Traditional Musical Comedy' also. Having encompassed overall performance factors including use of musical instruments, dance, acting, materials for drama as well as music in drama, the researcher has gone through experiments repeatedly. Meanwhile, however, the subject matters that make 'Korean Traditional Musical Comedy' mostly attractive to the audiences are music and songs or sounds. ["Sori" also called "Chang" (唱)] Particularly, under the current situation of our musicals, the role of "Sori" is extremely important. The factor that plays absolutely most important role in acceptance and transformation of "Sori" is the created Pansori. Since the created Pansori is composed with new rhythmic patterns and new narrative poems, it tells the present story. Also it draws good responses from the audiences owing to easy conveyance of dialogues. And, its new style brings diversification to organization of musical instruments, so then this leads to the arrangements of music for Korean traditional music instruments, as well as instrumental music ensemble, orchestra, and jazz band, etc. Likewise, upon appearing creative musics in 'Korean Traditional Musical Comedy,' professional music and vocal compositions have begun to emerge naturally. And, the song specialist and writer, of course, staffs including direction, lighting, and sounds, etc are required. That is, professional composition method are forced to be introduced to all areas. Other than this, there are many music pieces which are based on our unique songs and sounds ("Sori") and such traditional factors as use of lead singer for ceremony or chorus, and the method that puts weight on Pansori. Accordingly many things accomplished. However, it is required that 'Korean Traditional Musical Comedy' go through numerous discussions and more experiments. Above all, the most important things are the role of actor and actress, and their changes, and training of actor and actress further. Good news is there are good audience responses. 'Korean Traditional Musical Comedy' is an open genre. As musicals are divided into several domains according to the characteristics thereof, 'Korean Traditional Musical Comedy' will be able to show its distinctive features in various styles according to embodiment.

• The Journal of the Acoustical Society of Korea
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• v.23 no.2
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• pp.146-161
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• 2004

There have been always some difficulties in target setting and conditioning of acoustic performances of the Korean traditional music hall due mainly to the lack of the information on the sound radiation characteristics of Korean musical sources. In this study, the radiation characteristics of four typical Korean traditional musical sources were investigated in precision and their usage was demonstrated: The selected musical sources were Gayageum (string), Daegeum (woodwind), Jango (drum), and Pansori Chang (vocal performance). Each sound source was located at the center of a semi-anechoic chamber and the directivity was determined by the measured sound pressure levels in every 10° angular position, for both vertical and horizontal directions. The directivity pattern of Gayageum varies from a uniform to a complex pattern having many side lobes with the increase of frequency. The main radiation of Daegeum is toward the upward direction. The directivity pattern of Jango is clearly a side-oriented one and the left direction intensity is sharper than its right side at low frequencies. For the Chang, the directivity pattern change from a uniform pattern to a frontally directed one as the frequency goes high. Measured directional and spectral characteristics of traditional Korean music sources were implemented into the computation of architectural acoustic measures for the Busan National Korean Traditional Music Hall which is under construction. Parameters such as RT, SPL, C80, IE, STI were calculated at two receiver positions by using a ray tracing technique. Significant differences in the acoustic measures at receiver positions were observed between the results in using the omni-directional source and the directional one. 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.