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This article explains about ethic consideration of I Wayan Sadra’s work of contemporary music. It is especially related to his creative paradigm. For that reason, its self-belief, model, concepts, and method on artistic selection will be main issue on this article. An analysis on ethic consideration finds Sadra’s exertion on his take apart on self-confidence, creativity resistance, and selection of satisfaction. Finally yet importantly, by means of his paradigm Sadra find out his truthful originality.

The development of p’ansori remains unknown with respect to its exact source, place, and time of origin. This study looks at the early stage in the development of eighteenth-century p’ansori: Its formation, style, and social background. In order to examine the popular elements of the genre, p’ansori texts and musical aspects are examined.2 The social reception of p’ansori at this time is discussed by viewing documents written by a few noblemen who came to appreciate the art, despite the disapproval of others. P’ansori is an art form which amalgamates the musical expression and religious characteristics of the folk world of the late Chosŏ times. It features all religious, whether native or foreign, activities practiced by the populace during that time, and contains all types of music enjoyed by common people. They are muga (songs of shaman origin), chapka (secular songs), and minyo (folk songs). Religion-wise, Confucian teaching is the most prominent feature, appearing in p’ansori stories, as people during the late Chosŏ times were educated by the religion and by the ruling philosophy of that period. Current p’ansori is sung in modes used not only in folk music, but also those employed in upper-class music. It is regarded that certain musical modes, such as ujo and p’yŏgjo, were adopted from kagok (lyric song). The various rhythms that are used in contemporary p’ansori performances are also thought to have evolved during this time. In its early days, the main audience of p’ansori was the ordinary people, up until the latter part of the nineteenth century when number of upper-class noblemen became to enjoy the art.

Yoo Dong-cho is the person who recorded two pieces of music, the sanjo and bongjangchwi, in 1937 by playing his tungso and recording the music thus produced into phonograph discs. He has remained a subject of research not only for musical performers but also for scholars, owing to his remarkable talent for rendering musical performances. This research was conducted for four years, with five field studies on the character of Yoo Dong-cho, the top tungso musical performer in the 1930s. Based on the information provided by the informants, this research was divided into two parts: (1) Yoo Dong-cho’s art activities; and (2) the dates of his birth and death. The description of his art activities in this paper was based on the information provided by the informants, and the discussion of the exact dates of his birth and death was based on the records in the pulled-out family register. As for his art activities, Yoo Dong-cho enjoyed not only the folk music of sanjo and bongjamgchwi, which he recorded in phonograph discs, but also elegant music, such as that coming from the gayageum. As for the musical instruments that he played, he played diverse instruments, such as the tungso, gayageum, danso, sepiri, jingo, and drums. Although Yoo Dong-cho did not have many disciples, the few disciples that he had followed him endlessly, and he sometimes taught for a living. According to newspaper records and to the information provided by the informants, Yoo Dongcho taught elegant music rather than the sanjo. The tungso, however, was the musical instrument that he played best, and he always carried one with him. In the 1930s, Yoo Dong-cho was active in recording tungso music into phonograph discs, and in musical-performance broadcasting. This can be seen from the records of his radio broadcasting guestings in the mid-1930s, and from the records of the Victor edition of his tungso solo. Yoo Dong-cho was born on March 7, as the elder of two sons, Yoo su-yeong and Han Deok-san, in Jeonnam, Jangseong-gun, Buksangmyeon. His real name was Yoo Bong (柳鳳), and he belonged to the Munhwa (文化) Yoo (柳) family. Although Yoo Dong-cho was born in Jeonnam Janseong, he moved to Gochang Heungdeok-ri, Iksan Hwangdeung-ri, and Gimje Baeksan-myeon, and he settled down in Jeonbuk. For about 20 years in the last phase of his life, when he was most active in terms of rendering musical performances, he lived in Gimje Baeksan. It appears, however, that his activities were not limited to the Jeonbuk region but spanned the whole country. He died in 1946 at the age of 61 in Seungbang Village in Gimje Baeksan-myeon, and his grave is currently in Jeonnam Jangseong.

Korea’s cultural heritage embodies “its intellectual and spiritual contributions to the civilization of mankind.” Cultural heritage include cultural assets that are worth preservation and natural heritages with superb scenic beauty. According to the Cultural Heritage Protection Act initiated in 1962, cultural heritage are classified into four categories; 1) Tangible Cultural Heritage, 2) Intangible Cultural Heritage, 3) Folklore Materials, and 4) Monuments. In this paper, I explore the contents of the Korean cultural heritage, the governmental system to protect the heritage, and public programs to support the system. The essence of Korean national culture, named Intangible Cultural Heritage, is preserved and promoted not only by the government but also by schools and other organizations. The government support system has not been sufficient enough to preserve the traditional culture. The public, civil, and educational organizations also have to put their faithful efforts in order to preserve and promote the precious Korean cultural heritage.

In Korea, we have more education, conference, research, academic journals, organizations & events about Asian music than before. Compared to the past when the study was limited to Chinese and Japanese music, more different kinds of music such as Mongolian, and Southeastern countries, etc., are studied and taught. We went far even to have an English journal about Asian music. In the future, we might have a new horizon of Asian music. The music study will follow. We saw the increase of Asian music study in quantity. Now it is time to think about its quality. With the increasing numbers of government supported-programs, organizations and events, I think of the possibility of cultural hegemonism and the self-culture centralism in Asia. Also, I wonder which way the music orchestra with many different Asian musicians should go in order to "show unity in variety and build a firm friendship among Asia". Also, I couldn't deeply analyze each of social background, education, conference, research, academic journals, organizations & events about Asian music. I will leave them as a future task.