• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.513-557
• /
• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.104
• /
• pp.40-69
• /
• 2023

This paper examines the relationship between celadon wine vessels and royal banquets by focusing on their unique forms. It explores the symbolism in their forms and designs and the changes that took place in the composition of these vessels. By examining the royal annals in Goryeosa (The History of the Goryeo Dynasty), the relation of celadon wine vessels and royal banquets is examined in terms of the number of banquets held in the respective reigns of the Goryeo kings, the number of banquets held by type, and the purpose of holding them. A royal banquet was a means of strengthening the royal authority by reinforcing the hierarchy and building bonds between the king and his vassals. It was also an act of ruling that demonstrated the king's authority and power through praise of his achievements and virtues. Royal banquets were held most often during the reigns of King Yejong (r. 1105-1122), King Uijong (r. 1146-1170), King Chungnyeol (r. 1274-1308), and King Gongmin (r. 1351-1374). Particular attention is paid here to the changes in the types and forms of celadon wine vessels that occurred starting in the reigns of King Yejong and King Chungnyeol, which is also the period in which the number of royal banquets increased and royal banquet culture evolved. The king and his subjects prayed for the king's longevity at royal banquets and celebrated peaceful reigns by drinking and performing various related acts. Thus, the visual symbolism of vessels for holding, pouring, or receiving alcohol were emphasized. Since the manner of drinking at a banquet was exchanges of pouring and receiving alcohol between the king and his subjects, the design of the ewers and cups had a significant visual impact on attendees. It can be seen, therefore, that decorating wine vessels with Daoist motifs such as the immortals, luan (a mythological bird), turtle dragons, fish dragons, and gourd bottles or with Confucian designs like hibiscus roots was intended as a visual manifestation of the purpose of royal banquets, which was to celebrate the king and to pray for both loyalty and immortality. In particular, the Peach Offering Dance (獻仙桃) and Music for Returning to the Royal Palace (還宮樂), which correspond to the form and design of celadon wine vessels, was examined. The lyrics of the banquet music embodied wishes for the king's longevity, immortality, and eternal youth as well as for the prosperity of the royal court and a peaceful reign. These words are reflected in wine vessels such as the Celadon Taoist Figure-shaped Pitcher housed in the National Museum of Korea and the Bird Shaped Ewer with Daoist Priest in the Art Institute of Chicago. It is important to note that only Goryeo celadon wine vessels reflect this facet of royal banquet culture in their shape and design. The composition of wine vessel sets changed depending on the theme of the banquet and the types of liquor. After Goryeo Korea was incorporated into the Mongol Empire, new alcoholic beverages were introduced, resulting in changes in banquet culture such as the uses and composition of wine vessel sets. From the reign of King Chungnyeol (r. 1274-1308), which was under the authority of the Yuan imperial court, royal banquets began to be co-hosted by kings and princesses, Mongolian-style banquets like boerzhayan (孛兒扎宴) were held, and attendees donned the tall headdress called gugu worn by Mongol women. During the reign of King Chungnyeol, the banquet culture changed 132 banquets were held. This implies that the court tried to strengthen its authority by royal marriage with the Yuan court, which augmented the number of banquets. At these banquets, new alcoholic drinks were introduced such as grape wine, dongnak (湩酪), and distilled liquor. New wine vessels included stem cups, pear-shaped bottles (yuhuchunping), yi (匜), and cups with a dragon head. The new celadon wine vessels were all modeled after metal wares that were used in the Yuan court or in the Khanates. The changes in the celadon wine vessels of the late Goryeo era were examined here in a more specific manner than in previous studies by expanding the samples for the study to the Eurasian khanates. With the influx of new types of wine vessels, it was natural for the sets and uses of Goryeo celadon wine vessels to change in response. The new styles of celadon wine vessels linked the Goryeo court with the distant Khanates of the Mongol Empire. This paper is the beginning of a new study that examines the uses of Goryeo celadon by illuminating the relations between royal banquets and these unique celadon wine vessels that are stylistically different from everyday vessels. It is to be hoped that more studies will be conducted from diverse perspectives exploring both the usage of Goryeo celadon vessels and their users.

• Journal of Korean Library and Information Science Society
• /
• v.11
• /
• pp.69-99
• /
• 1984

A dramatic development in the new technology of copying materials has presented us with massive problems on reconciling the conflicts between copyright owners and potential users of copyrighted materials. The adaptation to this changing condition led some countries to revise their copyright laws such as in the U. S. in 1976 and in Korea in 1984 for merging with the international or universal copyright conventions in the future. Copyright defined as exclusive rights given to copyright owners aims to secure a fair return for an author's creative labor and to stimulate artistic creativity for the general public good. The exclusive rights on copyrightable matters, generally for reproduction, preparation of derivative works, public distribution, public performance, and public display, are limited by fair use for scholarship and criticism and by library reproduction for its preservation and interlibrary loan. These limitations on the exclusive rights are concerned with all aspects of library services and cause a great burden on librarian's daily duty to provide balance between the rights of creators and the needs of library patrons. The fair use as one of the limitations on it has been coupled with enormous growth of a new technology and extended from xerography to online database systems. The implementation of the fair use and library reprography in Korean law to the local practices is examined on the basis of the new American copyright act of 1976. Under the draft revision of Korean law, librarians will face many potential problems as summarized below. 1. Because the new provision of 'life time plus 50 years' will tie up substantial bodies of material longer than the old law, until that date librarians would need permissions from the owners and should pay attention to the author's death date. 2. Because the copyright can be sold, distributed, given to the heirs, donated, as a whole or a part, librarians should chase down the heirs and other second owners. In case of a derivative work, this is a real problem. 3. Since a work has its protection from the moment of its creation, the coverage of copyrightable matter would be extended to the published or the unpublished works and librarian's work load would be heavier. Without copyright registration, no one can be certain that a work is in the public domain. Therefore, librarians will need to check with an authority. 4. For implementation of limitations on exclusive rights, fair use and library reproduction for interlibrary loan, there can be no substantial aggregate use and there can be no systematic distribution of multicopies. Therefore, librarians should not substitute reproductions for subscriptions or purchases. 5. For the interlibrary loan by photocopying, librarians should understand the procedure of royalty payment. 6. Compulsory licenses should be understood by librarians. 7. Because the draft revision of Korean law is a reciprocal treaty, librarians should take care of other countries' copyright law to protect foreign authors from Korean law. In order to solve the above problems, some suggestions are presented below. 1. That copyright clearinghouse or central agency as a centralized royalty payment mechanism be established. 2. That the Korean Library Association establish a committee on copyright. 3. That the Korean Library Association propose guidelines for each occasion, e.g. for interlibrary loan, books and periodicals and music, etc. 4. That the Korean government establish a copyright office or an official organization for copyright control other than the copyright committee already organized by the government. 5. That the Korean Library Association establish educational programs on copyright for librarians through seminars or articles written in its magazines. 6. That individual libraries provide librarian's copyright kits. 7. That school libraries distribute subject bibliographies on copyright law to teachers. However, librarians should keep in mind that limitations on exclusive rights are not for an exemption from library reprography but as a convenient access to library resources.

• Journal of Intelligence and Information Systems
• /
• v.17 no.1
• /
• pp.139-152
• /
• 2011

Recommender systems have become an important research field since the emergence of the first paper on collaborative filtering in the mid-1990s. In general, recommender systems are defined as the supporting systems which help users to find information, products, or services (such as books, movies, music, digital products, web sites, and TV programs) by aggregating and analyzing suggestions from other users, which mean reviews from various authorities, and user attributes. However, as academic researches on recommender systems have increased significantly over the last ten years, more researches are required to be applicable in the real world situation. Because research field on recommender systems is still wide and less mature than other research fields. Accordingly, the existing articles on recommender systems need to be reviewed toward the next generation of recommender systems. However, it would be not easy to confine the recommender system researches to specific disciplines, considering the nature of the recommender system researches. So, we reviewed all articles on recommender systems from 37 journals which were published from 2001 to 2010. The 37 journals are selected from top 125 journals of the MIS Journal Rankings. Also, the literature search was based on the descriptors "Recommender system", "Recommendation system", "Personalization system", "Collaborative filtering" and "Contents filtering". The full text of each article was reviewed to eliminate the article that was not actually related to recommender systems. Many of articles were excluded because the articles such as Conference papers, master's and doctoral dissertations, textbook, unpublished working papers, non-English publication papers and news were unfit for our research. We classified articles by year of publication, journals, recommendation fields, and data mining techniques. The recommendation fields and data mining techniques of 187 articles are reviewed and classified into eight recommendation fields (book, document, image, movie, music, shopping, TV program, and others) and eight data mining techniques (association rule, clustering, decision tree, k-nearest neighbor, link analysis, neural network, regression, and other heuristic methods). The results represented in this paper have several significant implications. First, based on previous publication rates, the interest in the recommender system related research will grow significantly in the future. Second, 49 articles are related to movie recommendation whereas image and TV program recommendation are identified in only 6 articles. This result has been caused by the easy use of MovieLens data set. So, it is necessary to prepare data set of other fields. Third, recently social network analysis has been used in the various applications. However studies on recommender systems using social network analysis are deficient. Henceforth, we expect that new recommendation approaches using social network analysis will be developed in the recommender systems. So, it will be an interesting and further research area to evaluate the recommendation system researches using social method analysis. This result provides trend of recommender system researches by examining the published literature, and provides practitioners and researchers with insight and future direction on recommender systems. We hope that this research helps anyone who is interested in recommender systems research to gain insight for future research.

• Journal of Fashion Business
• /
• v.1 no.1
• /
• pp.71-83
• /
• 1997

The purpose of this study is to analyze the present fashion phenomenon by considering the types of street fashion, the center of avant-grade modern fashion, that shows the origination background and special feature concretely. The times was defined through the 1980's from World War II that street style originated, so the range of study was the 1990's when the street style was influenced by that of the past and was revived. The ways of study were to analyze the records of ideology, art and music connected with the street style from World War II to the present when it has risen. The summary of result is as follows. (1) In the 1940's, Zooties was the jet of desire suppressed by African-Americans that couldn't receive favors socially and economically and Hipsters pursued reformative bebop that made up of soft Jazz. In the 1950's, Modernists were running after Cool Jazz to the minimum. In the 1970's, Funk appered in the sexual desire and erotic strength, and was surfaced from Negro Getto. In the 1980's B-boys & Flygirls showed the street style by the scribble art of slum in the New York. As mentioned above, In the 1990's, Acid Jazz influenced by the Jazz of Negro has been the fashion added to the tradition of musical form that come from eclecticism of Jazz tended Neo-Jazz. (2) In the 1940's, Western style dreamed the country life because of rapid urbanization. In the 1950's, Beat obtained the feeling of liberation from the dissolute life and activity. In the 1960's, Psychedelics showed the freedom affected by the Pop-art and Op-art, and Hippies pursued the true individuality as 'love & peace' life style and the return to nature. In the 1990's, Grunge look influenced by the above has been fashion that shows the practical use of second-hand clothing or patchwork contrary to elitism. (3) In the 1940's, Caribbean style appered in the typical textile color with the center of West Indies. In the 1960's, Rude boys showed the magnificence and difficulty of Jamaica, and Rastafarians had a tendency to come back to the ancient civilization of America. In the 1970's, Two-tone was the simple clothing for harmonizing among human races. In the 1990's, Jamaica look influenced by the above has been the Lege fashion introduced to a high fashion, appearing in the special bright color, applique, unique hair style, and so on. (4) In the 1950's, Sufers pursued natural rhythm, getting out of everything. In the 1970' s, Skaters enjoyed the speed on the paved road. In the 1980's, Casuals emphasized the spirit of cooperation of young-things. In the 1990's, Casual look Influenced by the above has been the fashion that forms the activity, function and strong spirit of cooperation by pursuing comfortable life and sports in the tension of life and variety of modern society. (5) It was hard for Bikers to adjust themselves in society after the war. In the 1950's, Coffee bar cowboys were the reckless running boys in the leather jacket. In the 1960's, Rockers created the group originality as disobedient outsiders and Greasers imitated Rolling Stones. In the 1980's, Punks resisted the viewpoint of the old generation in offensive fashion. In the 1990's, Cyberpunk influenced by the above has pursued the classless structure, electronic music and metallic clothing that forebodes gloomily as the computer generation of ultra-modern science times. Accordingly, in understanding a complex modern fashion phenomenon, it was analyzed that the street styles of the past, from World War II to the 1980's, were reflected in that of the 1990's dividing into the five types in a word, namely Acid Jazz, Grunge look, Jamaica look, Casual look and Cyberpunk.

• (The) Research of the performance art and culture
• /
• no.33
• /
• pp.129-163
• /
• 2016

This study examines processes of cultural introductions and transformations among Korea, China and Japan via focuses on the formative characteristics of nasori(納曾利) masks belonging to komagaku (高麗樂), part of bugaku (舞樂), a Japanese court dance and music. Previous studies of traditional masks in East Asia focus on their dramatic characters and entertaining aspects. On the contrary, it approaches to their origins through the formative characteristics of komagaku nasori masks. Prince of Lanling, the representative togaku passed to Japan, and komagaku nasori perform a pair of toubu (答舞). One formative characteristic between Prince of Lanling and nasori masks is a dangling jaw (吊り顎). Masks having 'he' (へ)-shaped eyes like Japan's okina (翁) masks are characterized by a division (切顎) between the face and jaw, which is as same as the Korean masks. Other common grounds between Prince of Lanling and nasori masks are grotesque ghost faces and concentric double-circled eyes with their outlines painted gold. Concentric double-circled eyes prove that they spread to broader areas before the age of togaku and developed into a variety of divine-animal mask patterns. That Korean masks and nasori masks both have concentric double-circled eyes and dangling jaws is a significant starting point in studying the origin of traditional performing art in East Asia. Japan's bugaku has been passed down in shrines as part of folk religion. However, there exist in Korea no records or examples related to komagaku nasori masks introduced to Japan. This study provides some clues to comparison between Korean masks and komagaku nasori masks by focusing on the formative characteristics of the latter. The researcher suggests a new perspective to nasori mask dance by re-examining earlier Korean studies of the introduction of Daemyeonmu of Prince of Lanling to Japan through Shilla and the assumption of Nasori as Shilla music.

• (The) Research of the performance art and culture
• /
• no.33
• /
• pp.59-95
• /
• 2016

The purpose of this study was to examine the text and musical characteristic of , a changgeuk (a Korean traditional opera), by the National Theater of Korea, which was performed overseas with the title of and recognized its artistic values home and abroad alike, focusing on the process of its rebirth from a lost pansori. A changgeuk was dramatized from a lost pansori into a Korean traditional opera. In the process of rebirth of , the content of latter half, which is the performance of a funeral service for the deceased Byeongangsoe, was deleted, and the contents of Ongnyeo's fight against jangseungs in order to take back Byeongangsoe was newly inserted, thus creating textual changes. In addition, as the title presents, Ongnyeo is no longer a conventional lewd woman, but a subjective and independent female who is fighting against fate, different from its original perspective in which the leading character is Byeongangsoe. All the sounds of a changgeuk were made by the creative technique of traditional Korean songs through various attempts, such as inserting chords between performers in order to present most appropriate songs for the opera, namely proper sounds for the hidden side of the opera. In addition, according to the change of mind of performers or characters, the tone and vocal sound of the song were different. In particular, a changgeuk attempted a variety of techniques in the accompaniment of music, and used many sound buks or diverse genres such as popular music, waltz, classic and folk songs of every province, thus presenting challenging attempts. These attempts made the opera more abundant and helped it to be expressed realistically and dramatically. As above, the contents of a changgeuk were borrowed from classical narrations, but its musical aspects got off the technique of traditional changgeuk, thus attempting various changes and techniques. In this vein, it presented a novel modality of changgeuk equiping with the characteristic of 'reviewing the old and learning the new,' thus proposing the directivity and possibility of changgeuk in the present society.

• Trans-
• /
• v.12
• /
• pp.173-222
• /
• 2022

This thesis examines the 'universe' acceptance phenomenon, currently used as a content strategy in the K-pop field, from the perspective of K-pop audiences, and then attempts to identify their experience of acceptance and the meaning of the universe. For this, tweets related to the universe acceptance experience of Aespa, the group utilizing the universe as a content strategy the most actively, were collected, and this data was analyzed according to a phenomenological approach, an approach to explore the structure of personal experience and the essence of a phenomenon. As a result of analyzing using Moustakas' method, the semantic structure of the universe acceptance phenomenon of K-pop audiences was derived based on 21 thematic units. It was found that current K-pop audiences are experiencing active cultural consumption rather than unilateral or passive through acceptance of the universe. This means that K-pop audiences have the characteristics of active audiences that produce meaning, interact with other fans, and exert influence on outside of community. At the same time, these characteristics affect acceptance of the universe. Simultaneously, through active acceptance experience, it is found that K-pop audiences give a new meaning in the K-pop universe, as "marketing assets", "fandom community assets", and "K-pop industry expansion assets." Among them, the recognition of 'marketing assets' was reaffirmed as a basis for supporting related previous studies. In addition, it derived the new values of the universe in the K-pop field by discovering the meaning of "fandom's specific assets" and "assets of the K-pop industry for expansion". These meanings had not been found that previous studies from the producers' point of view. And then, for the purpose of expanding the value of the universe in the future, it was discussed the direction of the new meaning of the universe. Finally, this study is meaningful in that it revealed the semantic structure of the universe acceptance phenomenon and discovered a new meaning of the universe in the K-pop field. Additionally, it was intended to contribute to expanding the field of research by suggesting various follow-up studies from various perspectives.

• Journal of Science of Art and Design
• /
• v.7
• /
• pp.64-104
• /
• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• (The) Research of the performance art and culture
• /
• no.25
• /
• pp.253-289
• /
• 2012

Dasiraegi is a traditional funeral rite performance of Jindo located in the South Jeolla Province of South Korea. With its unique stylistic structure including various dances, songs and witty dialogues, and a storyline depicting the birth of a new life in the wake of death, embodying the Buddhism belief that life and death is interconnected; it attracted great interest from performance organizers and performers who were desperately seeking new contents that can be put on stage as a performance. It is needless to say previous research on Dasiraegi had been most valuable in its recreation as it analyzed the performance from a wide range of perspectives. Despite its contributions, the previous researches were mainly academic focusing on: the symbolic meanings of the performance, basic introduction to the components of the performance such as script, lyrics, witty dialogue, appearance (costume and make-up), stage properties, rhythm, dance and etc., lacking accurate representation of the most crucial element of the performance which is sori (song). For this reason, the study analyzes the music of Dasiraegi and presents its musical characteristics along with its scores to provide practical support for performers who are active in the field. Out of all the numbers in Dasiraegi, this study analyzed all of Geosa-nori and Sadang-nori, the funeral dirge (mourning chant) sung as the performers come on stage and Gasangjae-nori, because among the five proceedings of the funeral rite they were the most commonly performed. There are a plethora of performance recordings to choose from, however, this study chose Jindo Dasiraegi, an album released by E&E Media. The album offers high quality recordings of performances, but more importantly, it is easy to obtain and utilize for performers who want to learn the Dasiraegi based on the script provided in this study. The musical analysis discovered a number of interesting findings. Firstly, most of the songs in Dasiraegi use a typical Yukjabaegi-tori which applies the Mi scale frequently containing cut-off (breaking) sounds. Although, Southern Kyoung-tori which applies the Sol scale was used, it was only in limited parts and was musically incomplete. Secondly, there was no musical affinity between Ssitgim-gut and Dasiraegi albeit both are for funeral rites. The fundamental difference in character and function of Ssitgim-gut and Dasiraegi may be the reason behind this lack of affinity, as Ssitgim-gut is sung to guide the deceased to heaven by comforting him/her, whereas, Dasiaregi is sung to reinvigorate the lives of the living. Lastly, traces of musical grammar found in Pansori are present in the earlier part of Dasiraegi. This may be attributed to the master artist (Designee of Important Intangible Cultural Heritage), who was instrumental in the restoration and hand-down of Dasiaregi, and his experience in a Changgeuk company. The performer's experience with Changgeuk may have induced the alterations in Dasiraegi, causing it to deviate from its original form. On the other hand, it expanded the performative bais by enhancing the performance aspect of Dasiraegi allowing it to be utilized as contents for Performing Arts. It would be meaningful to see this study utilized to benefit future performance artists, taking Dasiraegi as their inspiration, which overcomes the loss of death and invigorates the vibrancy of life.