• Journal of Korea Multimedia Society
• /
• v.17 no.10
• /
• pp.1239-1252
• /
• 2014

The OST (Original Sound Track) in the film plays a vital role in increasing consensus and concentration to the storyline. The selected 4 animations are classified into 17 Narrative Processes (NP) by using NP Classification Model [1]. For the NPs each having OSTs, the authors have investigated 6 kinds of objective musical elements of the OST such as sound (speech, music, effect), tonality, tempo, range, intensity, and instrumentation. It is found that there are 33.3% common musical elements among all of them for the NPs with OSTs commonly. Among them, it is also found that there are 71.9% of common properties of the musical element. This research is meaningful by firstly showing that there are common properties of objective musical elements in each NP and the corresponding OST.

• Journal of muscle and joint health
• /
• v.10 no.2
• /
• pp.188-202
• /
• 2003

The aim of study was to investigate the effects of 12 forms of Sun-style Tai-Chi for arthritis(TCA) on physical symptom(pain, tenderness, swelling fatigue, and blood pressure), physical function(balance, flexibility, grip strength) and social-psychological health status in osteoarthritis(OA) patients and rheumatoid arthritis(RA) patients. This study was done with one group pretest-posttest design. A total 21 arthritis patients(6 OA patient and 15 RA patient) participated in 60 minute session consisting of warm-up exercise 12-main movement including qigong, and cool-down exercise twice a week for 6weeks. Physiological and social-psychological variables were measured before and after TCA 12 form. The researcher who completed a Tai Chi workshop for exercise leaders in Australia and Seoul taught the Tai Chi movement step by step until the patient felt comfort enough to perform them correctly by themselves during the first 4 weeks. At the last 2 weeks, the subject perform 10-15set of these at a session with traditional music to help patients move in a slow tempo. TCA 12 forms program showed significant improvement in fatigue(p=0.039) of rheumatoid arthritis patient and pain(p=0.006), fatigue(p=0.013), tenderness(p=0.032), flexibility(rt arm up, p=0.014, If arm up, P=0.003), grip strength(rt hand, p=0.002, If hand, P=0.003) of osteoarthritis patients. With assessment by Arthritis Impact Measurement Scale 2 questionnaire(AIMS2), physical component(0.002) and social interaction(0.025) on osteoarthritis patients were significantly improved. Evaluation of the participants about TCA exercise noted that the exercise was fairly easy(23.6%), moderately difficult(57.1%), and fairly difficult(14.3%). Considering the result of this study, TCA exercise program was more effective in pain, tenderness, grip strength, flexibility, and physical and social interaction on osteoarthritis patients than rheumatoid arthritis patients. Tai-Chi for arthritis 12 form was an appropriate intensity exercise for osteoarthritis patients.

• (The) Research of the performance art and culture
• /
• no.34
• /
• pp.9-42
• /
• 2017

Of all Geommu(劍舞, Korean sword dance), Gisaeng-Geommu danced by gisaeng(妓生, Korean female entertainers) for private guests and at the royal court. The Sword dance in the late Joseon Dynasty used to be dynamic exuding menacing "sword spirit(劍氣)." Sword dance being transmitted today is more ritualistic and elegant. This study considers Korean sword dance has a core structure and motifs transcending generational differences, and based on this critical thinking, aims to analyze the structure of Korean sword dance. This study analyzed the prose "Geommugi(劍舞記)" by Park Je-ga(朴齊家) and the poem "Mugeompyeonjeongmiin(舞劍篇贈美人)" by Jeong Yak-yong(丁若鏞) out of literary works from the late Joseon Dynasty, and from official records of rituals(笏記), "Geomgimu(Sword Dance, 劍器舞)" and "Geommu" in "Gyobanggayo(敎坊歌謠)." In the introduction part of Sword dance, a dancer appears, bows and performs a hand dance or hansam(汗衫) dance to and fro. In the development part, a dancer meets with a sword but first hesitates to hold it and dances holding swords in both hands. The climax shows expert sword skills and combat scenes. In the conclusion part, the court dance involves a dancer bidding a formal farewell, while the dance for entertainment, a dance throws away the sword to finish. From literature materials, the structure of Korean sword dance could be divided into an introduction, a development, a climax and a conclusion. Based on this, this study analyzed sword dance movements by linking the beats accompanying the current sword dance, in the order of a Yeombul, the traditional Korean ballad Taryeong or Neujeun Taryeong, Jajin Taryeong, Taryeong and Jajin Taryeong. The introduction part includes a Buddhist prayer and the beginning of Taryeong. Dancers appear, and in two rows they dance facing each other. On the slow beat, their dances are relaxed and elegant. The development part is matched with Jajin Taryeong. Dancers sit in front of swords and grab them, and they dance holding a pair of swords. The beat gradually becomes faster, progressing the development of the dance. But then, the slower Taryeong is placed again. The reason behind it is to create a tension for a little while, before effectively reaching a climax by speeding up the tempo again. Moving on to Jajin Taryeong, dancers' movements are bigger and more dynamic. The highly elated Jajin Taryeong shows dance movements at the climax on fast, robust beats. In the conclusion part, the beat is quick-tempo and on the upbeat again on Jajin Taryeong. Driving on without a stop on the exciting Yeonpungdae(燕風臺) melody, dancers standing in a line dance wielding the swords and bow before finishing.