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P‟ansori, narrative song of lower class origin, became popular amongst all levels of society through the eighteenth and nineteenth centuries. As the genre grew in popularity with the upper class, performers altered stories and performance style to suit the audience. The folk style was more emotionally expressive, linguistically direct, was performed outdoors, and had a raspier sound; the aristocratic style was more emotionally reserved, used refined language, was performed indoors, and had a clearer tone. Current performances are typically held in theatrical settings and students train in institutions. Still, through fieldwork, variations in performance practice became apparent to me. Some singers gesture to mime words while other singers gesture to emphasize ornamentation; some singers use a large amount of stage space and interact directly with the audience while other singers remain center stage and interact with the accompanying drummer. The choice performance style seems to often reflect a gender divide with men performing folk style and women the aristocratic style. As women age they seem to be allowed more freedom of movement and expression and shift towards the folk style. Through ethnographic and movement analysis, I demonstrate how movement and gesture are culturally encoded with varying class and gender identities.

Sipjjapuriga is an important piece of music that occupies over 20 percent of cheonju gasa (天主歌辭; Catholic verse/words) of more than forty pieces that were studied in music part. This piece of music has been much favored by many people, and “iljjana hanja deulgo ba” as a text/ word shown in Gaksseoritaryeong (= Jangtaryeong) constantly appears in this song. Gaksseoritaryeong is also called Jangtaryeong that was sung by Gaksseoripae („pae‟ = band). This article focuses on examining the background and characteristics of Sipjjapuriga that was brought about the process of fusion between Gaksseoritaryeong and cheonju gasa. Gaksseoritaryeong had been developed as Jangtaryeong in each region by the itinerary yein (professional entertainers) such as Gaksseoripae, punggakjaengi, chorangi in the 19th century. Since then part of Sutjjapuri and refrain was added in it in the early 20th century. The praising words of “heojeolssigona deureoganda” also added to the introductory section. It has mostly been sung in the Gyeongsang provinces and consists of menaritori. Sipjjapuriga follows the only sutjjapuri (solving numbers) section except for the introductory section or concluding one of Gaksseoritaryeong. Its date probably goes back to the 1920s-30s upon the basis of its words/verse and social atmosphere contained in the music, and its writer (lyricist) seems to be a conscious priest or devoted Catholic. The content of saseol (a text/lyric/word) is that such Catholic doctrines as cheondangjinbok, yesutansaeng, chimyeongbokja developed into the text of “iljana hanja deulgobwa, ijana hanja deulgobwa” that are the numbers from one (1; „il‟) to ten (10 „sip‟). The recorded words/ lyrics can be slightly different from singers to singers, but its content hardly changes. In terms of the constituent tones in music, the features of gyeongtori and menaritori of folk songs are reflected, but it appeared to be largely the jeongak style in relation to its melodic progression. The pentatonic pyeongjo (平調) consisting of „sol-la-do-re-mi‟ appeared the most as six pieces of music, and gyemyeonjo (界面調) has 2 while menaritori is one piece. A characteristics of the cheonju gasa Sipjjapuriga includes a simple repetition, conjunct progression and the occurrence of several cadence tones. This result derives from that cheonju gasa seems to be hybridism emerged from the processes of settling down in Korea.

The historical background of most nations in Southeast Asia have encountered with the colonialism. This article discusses the emergence of keroncong, a well- known musical genre as a result of cultural interaction during the colonial era in Indonesia. The history of keroncong began in Tugu village in what is now Jakarta as the capital city of Indonesia. In particular, Tugu village community invented a new musical genre that directly absorbed Iberian influence of Portuguese Moresco, of Moorish origins, and is now known as Krontjong Toegoe. In between the advent of Portuguese explorers in 1513 and the independence of Indonesia in 1945, the Dutch were a colonial power for over three and half centuries since 1619. The Colonial Government supported the development of Krontjong Toegoe in urban Batavia. They also built Tugu church to facilitate the descendants of the Portuguese after converted from Catholicism to the Reformed Church. The social background of the Tugu community reveals their contribution to this ubiquitous genre in Indonesia‟s repertoire, which is an important discovery. Because Krontjong Toegoe is extant, it is significant as an example of the continuing evolution of a creative form that combines cultural elements from both East and West.

The bronze bells and the stone chimes are the specific musical instruments of court music. Originated from the ancient history of China, they were included in the Bát âm 八音(Eight Timbers) orchestra which was performed in the Chinese royal court. Since Nhã nhạc 雅樂 (Elegant music) was introduced to Vietnam in the XVth century, the bronze bells and the stone chimes were imported to Vietnam together with the other instruments of Bát âm (Eight Timbers) orchestra. When Vietnamese court music declined along with feudalism, these instruments were not longer performed, pieces of them have been displayed in the museum. For preserving Vietnamese Nhã nhạc which was recognized as a world heritage by Unesco, a thorough research on these two instruments has been done, then a trans-national project between Hue Monuments Conservation Center of Vietnam and National Gugak Center of South Korea was undertaken, resulting in the reconstruction and revitalization of these royal musical instruments. This essay will show the path that the work has gone through. Firstly, this research will provide a brief overview of the origin, history and the scale of bronze bells and stone chimes. It will then reveal the current condition of the remaining bells and chimes which have been carefully examined. Finally, with the proposal for the restoration of the instruments, the research is concluded on how the restoration process was actually conducted.

Akjangnyoram is a book of manuscripts which was owned by Kim Hyeong-sik, who worked as a boy dancer at the royal court of King Sunjo. The book contains manuscripts of Jongmyo Jeryeak, Gyeongmogung Jeryeak, Nagyangchun, and all the five jang (sections) of Man notated in yuljabo notation. There are points (•) among notes, however, the distance between each point is erratic. Some points are placed next to a single note, but others after a series of notes. In the sixth book of Sokakwonbo, the points are turned into blank jeonggan, and notes preceding them have been interpreted to take on two beats, while others only one beat until this day. Since the manuscripts of Sokakwonbo and those of Akjangnyoram, which have points, share the same contents and order, some scholars regard the one-beat-for-one-note change as a natural development that occurred during the Joseon dynasty. For them, the music of Akjangnyoram with points serves as the only clue for accepting the de-patterned and erratic rhythmic cycles of current court music as corollaries from the Joseon dynasty. It is thus necessary to establish a definite interpretation of the point (•) in investigating the logicality of the one-beat-per-note change. The original manuscripts of all the pieces in Akjangnyoram, except for Gyeongmogung Jeryeak, have survived, and I have demonstrated that the points are breathing marks for daegeum by comparing Akjangnyoram with the originals. A note followed by a point typically holds a value of six daegang, but if a note is followed by several notes without a point, then they all fit within six daegang. Of course the melodic context determines the length of a breathing phrase: if a melodic fragment is linked to its previous melody, its breathing phrase will be longer than usual, but if it is linked to its following melody, the breathing phrase can be shorter. It is not likely that today‟s Daegeum Jeongak has added a breathing mark to each blank jeonggan in the sixth book of Sokakwonbo. The length of the longest breathing phrase of a piece indicates its relative tempo: Huimun, whose longest breathing phrase occupies eight daegang is assumed to be much slower than pieces like Nagyangchun, which has a breathing phrase taking up as many as 18 daegang. But since Yeongsin Huimun, Jeonpye Huimun, and Choheon Huimun all have eight daegang as their longest breathing phrase, it is not reasonable to assume that Jeonpye Huimun is particularly slow.