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Pamori(판소리, Korean narrative song with an accompaniment of the drum) is comprised of many sori(소리, sound or melody) in relation to various jangdan(장단長短, rhythmic cycles or rhythmic patterns) and "naedeureum(내드름)" refers to an opening phrasing of each sori stock. In general jangdan in Pansori consist of certain rhythmic patterns whose each one corresponds to its melody and text. But jangdan in Pansori are to some extent constructed differently from one singer to another. In performance situation the singer tends frequently to change a certain jangdan spontaneously, so the drum player needs to distinguish particular types of the rhythms within the naedeureum jangdan immediately and accompanies them as soon as the singer utters naedeureum, each melody stock. This article is to investigate the signal system of the way of communicating between the singer and the drum player that there is an encoded meaning which distinguish the types of jangdan during the Pansori performance. The singer sends a musical information, which is contained in a naedeureum melody, and which indicates the types of jangdan, while the drum player receives the musical information and cognise them. The musical information which communicates between the two can be a "Collective Structure 집합구조" which is each levelled beat of rhythmic cycles implied in the naedeureum melody and I would call it an abbreviated term "Beat Structure 박자구조". I have considered musical structure, which generates the beat structure of jangdan as 'Syntax Structure of Jangdan Rhythm 장단리듬 통사구조'(Yi Bo-hyung, 2000). In this respect, a musical meaning that the singer indicates the drum player can be a musical semantics which is occurred in Syntax Structure of Jangdan Rhythm. Jangdan types arranged in Pansori are distinguished each other, as they differ in terms of structures of the beats and tempi/speeds. But there is also a case that sometimes certain jangdan types are not distinguished by these two elements - tempo and beat. Then the singer employes two kinds of devices in order to distinguish these confused jangdan : one is to indicate directly the Syntax Structure of Jangdan Rhythm which generates the Beat Structure of Bondi jangdan in certain jangdan, that is a simile meaning which is represented in deep structure; the other is a different kind of the Rhythm Syntax Structure which is not the deep structure in jangdan, that is a metaphoric meaning which is represented in surface structure. When a denotation of jangdan with the surface structure is idiomitised, this becomes the idiomatic structure which possesses a particular musical meaning that indicates the particular jangdan. Pansori singer, thus, gives a certain clue and the active gesture with either the simile meaning or the metaphoric one according to the types of the jangdan, so this makes the drum player easily to distinguish their meanings. However Pansori singers sometimes change these rules in order not to be immersed themselves in mannerism. To indicate a certain jangdan in a new meaning of the rhythm, they use metonymy which digresses the Rhythmic Syntax Structure that is non-idiomatisation, or they present passive gestures which the drum player would not be able to recognise a certain message clearly. When the singer did not indicate the meaning of a certain jangdan to the drum player and in return the latter did not render the proper rhythmic patterns of what the former intended. Then a tension between the two performers grows and consequently the performance would not be successful in delivering the singer's artistic intention. Thus it is not simple to establish the semantic meaning of denotating jangdan in naedeureum by a Pansori singer.

Kagok 歌曲 consists of a series of 26 song pieces, and there is a unique, distinctive melodic feature in each of them. It is intended in this study to make a structural comparison of the different melodies of the Kagok. As a result of comparing, it is found that although each of them has a peculiar individuality, they could ultimately be said to belong to Chosudaeyeop 初數大葉, the first song, or Isudaeyeop 二數大葉, the second one. Specifically, the fact that the song melodies of Long 弄 pieces were related to Iisudaeyeop and the melodies.

Hyangak (native Korean music) and dangak (Koreanized music of Chinese origin) ate given much weight in Korean Court Music. Both genres of music had been performed in Korean Court without interruption from Goryeo Dynasty (高麗, 918~1392) through Joseon Dynasty (朝鮮, 1392~1910). Though they were occasionally performed at several court rites and other ceremonies during this long period, they were mainly performed at court banquets. Quiet a few pieces of those music had been performed at various court banquets and other ceremonies in the Korean Court before 1910, but only a few of them ate left and performed in these days. Why ate only a few of them left and performed today? The reason of it might be said that the chances of performing them have gradually been reduced since the Joseon Dynasty until now. At which court occasions, then, were those pieces of music performed from the Sejong period (1418~1450) through the Yeonsan-gun period (1494~1506). This study has been carried out focused mainly on this matter and shows us many performed examples of them during this short period. Roughly the results of it can be summarized as follows. Though all the pieces of hyangak and dangak in the akji (樂志, musical section) of Goryeosa (高麗 史, History of the Goryeo Dynasty) weren't performed at the Court of Joseon Dynasty during this period, the fact that many pieces of them had been performed at the Court of Joseon Dynasty without interruption should be evaluated highly from the viewpoint of musicology. Especially newly composed pieces of hyangak and dangak as sinak (新樂, new music) by Sejong enriched the Court Music of Joseon Dynasty all the more. Among all the pieces of sinak several pieces of hyangak, which were composed on the basis of old hyangak from Goryeo and gachwiak (鼓吹樂, a kind of Royal processional music), opened a new and unique Court Music of Joseon Dynasty. According to Akhakgwebeom (樂學軌範, Guide to the Study of Court Music and Dance) and Gyeonggukdaejeon (經國大典, National Code), a large number of hyangak and dangak pieces of the Goryeo Dynasty, and those of Sejong's sinak were still performing at various court banquets and ceremonies during the Seongjong period (成宗, 1469~1494). In other words it means that both genres of music were much flourished rather than went into a decline in those days. I have noticed that the uses of hyangak in Sejong's sinak were restricted within narrow limits except for some pieces of them in those days and any performed record on Balsang (發祥, a birth of good omen), which was a hyangak piece of sinak, was not found in any annals and book since a record of it in the Annals of Sejo (世祖, 1455~1468) in 1460. Among the uses of Sejong's sinak the extensive use of Yeominak (與民樂, enjoy with people), Jeongdae-eop (定大業, founding a great dynasty), and Botaepyeong (保太平, maintaining great peace) was a motive to transmit some pieces of Sejong's sinak to the present. Especially Yeominak-man (慢) and Yeominak-ryeong (令) were the most extensively used pieces among all the hyangak of Sejong's sinak. I could not find out any record of using all the dangak pieces which were created before Sejong in the early Joseon Dynasty and that of most Sejong's new dangak pieces after the Sejong period. It means that all these pieces disappeared after the Sejong period. But some of these were still remaining in the Akhakgwebeom not as music but as dangak-jeonjae (呈才, court dance). Between the hyangak and the dangak, especially the uses of former had been regarded more important than those of the latter since the Sejong period. Among 3 hyangak-jeonjae in the akji of Goryeosa only Mue (無?, without difficulty), which was performed at the court of Sejong period, was not recorded in the Akhakgwebeom, but newly choreographed hyangak-jeonjae Botaepyeong, Jeongdae-eop, Bongnaeeui (鳳來儀, ceremony of Chinese phoenix), Hyangbal (響?, sound of small cymbals), and Hakmu (鶴舞, crane dance) in the early Joseon Dynasty enriched the world of hyangak-jeonjae in the Akhakgwebeom. Revived dangak-jeonjae Gokpa (曲破, broken melody) and Yukwbadae (六花隊, a group of six flowers) were added to 5 transmitted dangak-jeonjae from the Garyo Dynasty in this period. Especially 8 pieces of dance music for the Gokpa enlarged the number of dangak pieces in the Akhakgwebeom. But the real number of performed dangak pieces at the court banquets and ceremonies during this period were only a few. Yeonsan-gun regarded music and dance as two tools for his sensual pleasures. He loved Cheoyongmu (處容舞, a kind of mask dance) and the Hakmu of hangak-jeonjae very much. His abnormal affection for both these dances were very serious. But it curiously enough helped a lot to transmit those two dances to the present and we can see an interesting historical paradox in this aspect.

Gagok, the Korean classical lyric song, is a kind of art form which combines poetry and music, and there have been many musicological researches into this genre. However, there are few papers or articles about the production or the process of development in the female part of gagok. This paper focused on grasping musicologically the process of development in the female part of gagok through the examination of musical notes of the 19th century, and the conclusions are as follows: First, The first appearance of the female part of gagok is in 〈Samjuk Geumbo〉(1841), and the first note that male and female parts sing together is the Cheongseong Sakdaeyeop in 〈Samjuk Geumbo〉(1841). The first emergence of the name of the Taepyeong-ga which is the same as the contemporary name is in 〈Hyeongeum O'eum Tongron〉(1886), and the first appearance of the Hwan'gyerak which has only female part of song is in 〈Seogeum gagok〉(1884). Second, the habitual practice that male and female parts sing by turns is firstly verified in 〈Hyeonhak Geumbo〉(1852). Third, it seems that the female part of song would arise from the trial which made the tone of male part heighten one octave up. However, if the original tone of male part was very high, flasetto must be efficiently used, because of the almost impossible compass. In other case, the melody of the female part would be varied as low tone, deliberating on the contents of the text. This case would be the parts that the melody of male and female parts has a difference of a forth or a fifth.

I looked into the scripture Prajna-Paramita-sutra, which is the represent of the emptiness(空) of the Buddhism and the shortest scripture out of the ones. In Korea, mostly professing the Mahayanist Buddhism, the scripture is being acquainted among Korean buddhists. I examined the musical material in these sutras both Korean's and Japanese's. First of all, in chanting of the Prajna-Paramita-sutra performing in the Bekyang and Songkwang temple in Korea, there is a part of introduction for a wooden gong. Even the two perform the chanting of this sutra a little bit differently. The former executes the chanting syllabically with the wooden gong and they chant in different tones and pitches. And finally it finished with the Menari(메 나리) mode in the last part. But the later, performed in the Songkwang, has an even chanting style executing syllabically with the wooden gong and they chant in one voice like music. And it composed of the Menari(메나리) mode from the beginning to the end. In comparison the chanting of these sutras between the two countries's, some different points can be found. Firstly, unlike the korean's one, in the middle part of the japanese's chanting, 'itsai( 一切)' is inserted. So it is chanted like this "muhukuhu onli itsai dentokuso(無有恐怖 遠離一切 顚倒 夢想)". Secondly, the incantation or sorcery in the chanting of the Prajna-Paramita-sutra is different. In Korea, while they repeat the incantation three times, in Japan they do not repeat the sorcery but only one time. Lastly, they finish the chanting of the Prajna-Paramita-sutra with the incantation in Korea. In Japan, however, they finish it with chanting again the word "hannyashingyo( 般若心經)" after the sorcery. On the other hand, in musical aspect in the Prajna-Paramita-sutra between the two countries, both's one has a syllabic process. Nonetheless the korean's one is stronger than japanese's one in terms of musical view. The attraction of the chanting of the sutra is sometimes overwhelming whether they chant in one voice (Songkwang Temple and Japan), or individually they chant in different tones and pitches. Listening to the sutra-chanting from the out side of a temple you can feel the religious feat and a kind of big movement in it. I assuming that it is because the chanting of the Prajna-Paramita-sutra is a part of the nature not artificial making a harmony. It is a buddhism music which has the beauty of the nature and make us feel the mingling with the nature.

In order to study the melodic structures of Kyung-gi minyo and Sodo minyo and their differences, I have examined what is thought of as the essential characteristic difference between the two regions, the Kyung-gi re↔mi and Sodo La↔do, and analyzed the idiosyncratic vibrating Sodo La. The pieces I analyzed from these regions that reflect their own typical regional characteristics are "Changbu Taryong" and "Nore Garak" of Kyong-gi and "Sushimga" of Sodo. I examined the recordings of these songs from 1910 to the present. Through the use of the computer program "Nopijegi" I found that both the intervals, Kyong-gi re↔mi and Sodo La-do, registered a difference of 250 cents. Thus, there is no difference between the Kyong-gi second and the Sodo third. This means that the characteristic differences between the two regions are not in the fourth and fifth degrees of the mode (the Kyong-gi re and mi, and Sodo La and do) but in the modal frame and ornamentation. The Kyong-gi modal frame is the Sol↔do interval and the Sodo frame is the Ra↔La interval. The vibrating La is also idiosyncratic to the Sodo mode. In Sodo minyo, there are two different ways to vibrate the middle tone La : the use of vibrato from the beginning of the pitch and the use of vibrato after holding onto the pitch. The vibrato was measured at 6-8 cycles per second. The width of the vibrato increases in later recordings. I found thar there were two different kinds of vibratos : one where the width of the vibrato is consistent and the other where the width of the vibrato increases as the vibrating note slides up. With the former vibrato, vibrato seems to be directed down. With the larter, the tendency is to vibrate up.

Kut ritual reveals various lifestyles of Korean people, such as varied artistic types, clothing, decorations, ritual and customs ranging from religious ceremony to music, dance, oral tradition, drama, play and so on. Especially, Ssitgim Kut contains even death ceremony consoling the deceased's soul as well as art and life. The procedure of Kut differs according to local area and Kut situations. This study was to explore the procedures and the music of the Kut ritual in Honam region, - focused on Suncheon Ssitgim Kut. The ritual procedures of this Kut are performed in a series of 〈1. Jowang Kut〉 〈2. Anddang〉 〈 3. Josang Kut〉 〈4. Jeseok Kut〉 〈5. Honmaji〉 〈6. Ogu Kut〉 〈7. Gapuri〉 〈8. Ssitgim〉 〈9. Gildakeum〉 〈10. Geori Kut〉. The above 10 procedures are divided to two parts; the first half, from Jowang Kut to Jeseok Kut with a character of celebrating living people, and the second half, from Honmaji to Geori Kut, washing the deceased's soul and leading it to the heaven. Among 10 procedures, 〈1. Jowang Kut〉 and 〈10. Geori Kut〉 were performed by Gain -the instrument player-, and 8 procedures from 〈2. Andang〉 to 〈9. Gildakeum〉 were performed by Danggol. There were 35 songs totally in 8 procedures. This study analyzed the musical characteristics of 35 Kut songs in three aspects of the rhythmic pattern -Jangdan-, the mode, and the musical style. The first, the eight Jangdan were used, representative Jangdan of Ssitgim Kut in Jeonnam region, such Dongsalpuri, Jinyangjo, Jungmori, Jungjungmori, Gutgeori, Dungdeoggungi, Eotmori and, Oijangu without any fixed rhythm. The second, the Kut songs of Suncheon Ssitgim Kut were sung in 3 modes ; Yukjabaegi-Mok, Gutgeori-Mok, and Nangsongjo, and the songs in Yukjabaegi-Mok took its most part. The third, the style of singing Kut songs seemed to have to do with the poetic form of songs; a poem in stanza form was strophic, and a poem of continuous verse structure was set to through- composed music. And the style was related to Jangdan also. The strophic songs were concentrated on Jungmori, Jungjungmori, Gutgeori Jangdans. And the through-composed songs were concentrated on Dongsalpuri and Jinyangjo Jangdans. The songs of Dongsalpuri Jangdan was simple and syllabic. And in the songs of Jinyangjo Jangdan, the three typical phrases were often used.

The Jeong-Ga(正歌) is composed of three parts, that is, Gagok(歌曲), Gasa(歌詞), Sizo(시조). Among these genres, the Gagok is played to the accompaniment of Daegum, Piri, Haegum, Gayagum, Geomungo and Janggu. But the Gasa and Sizo are different from the Gagok in the point that they are played without Gayagum and Geomungo. In addition, the melody of accompaniment is already fixed in the Gagok, but the Gasa and Sizo have no fixed melody in the accompaniment. consists of five Gasa, and all of these Gasa are played to the accompaniment in different ways. However the interpretation of track 3 and track 6 of this CD expressed as 'song with the lyric on Hyangdangkyoju(鄕唐交奏) and Pyoungjohoesang(平調會上)' are distorted. The purpose of this article is to correct the errors of the interpretation of this CD, to compare the melodies and accompaniments of the song on track 3 and track 6, and to figure out the time when the Gasa began to be played to the accompaniment in the same way played recently. The results of this study are following; First, the explanation of track 3 expressed as 'song with the lyric on Hyangdangkyoju' is incorrect. In fact, this song corresponds to the first section of the Gasa [Gweonjuga(勸酒歌)] and the accompaniment of this song comes from the melody of Yeomyangchun(艶陽春), With the comparison of melodies of the song and accompaniment of track 3, Yeomyangchun plays a role as the background music rather than the accompaniment. Second, the explanation about track 6 interpreted as 'song with the lyric on Pyoungjohoesang' is incorrect. In fact, this song is the part of the Gasa [Sangsabyoulgok(相思別曲)] from the first section 4th Jangdan(長短, rhythm pattern) to the second section, using Pyoungjohoesang as the accompaniment. Moreover Sangsabyoulgok and Pyoungjohoesang are well-marched as the song and accompaniment. even though they looked unsuitable each other. Third, the Gasa was first taught by Ha Gyu-Il at the Gweonbeon(券番) and Leewangjik Aakbu(李王 職 雅樂部, the traditional music part of Lee dynasty). Since that time, many musicians have learned the Gasa systematically. So musicians have begun to play the accompaniment to the Gasa in Suseong(隨聲) melody. In conclusion, the Gasa is accompanied in Suseong melody nowadays. But before this methods are used, the Gasa was sung to the accompaniment of preexisting music.

Kisaeng (women performers) in the 20th century is different from that of Chosun Dynasty in terms of administration, their organization, social status, performing repertoires, etc. The advent of the 20th century-style Kisaeng was in 1908 when Kuangi (official Kisaeng) system was dissolved and Sampae (non-official Kisaeng) was organized. Eventually Kuangi fell under the Sampae system. These Kisaeng performed music and dance for common people commercially. The Kisaeng system spread quickly in the early 20th century and many Kisaeng communities were established. By 1920s there were four main Kisaeng communities. Their repertoire took on traditional folk music and a few genres of folk-art music. In the 1930s, Kisaeng participated in many different facets of the performing arts society : traditional music, western-style music, and acting, Kisaeng who succeded in the musical society obtained the title Yoryu which means admirable women and were differnt from most other Kisaeng. Because Kisaeng were organized by Japanese colonial government for commercial purposes, money was concentrated in the Kisaeng communities. Thus, Kisaeng able to sustain the musical society both as performers themselves and by supporting other musicians in the traditional musical society.

中國傳統音樂大槪分爲五種類，分中國民歌，舞曲，說唱，?曲，器樂等. 中國在長期的歷史發展中有着 獨特的民族風格. 以出土文物考證爲根據，中國有五千年以前從氏族社會開始就有歌舞和歌曲而且已盛行了. 到了西周時 期已有管樂器等記錄共70餘種樂器. 本論文是從戰國時期中國傳統音樂論著公孫尼子的『樂記』開始述說，後來唐代。宋，元，明，淸以及 新中國成立後的中國傳統音樂的發展，而且主要述說了中國傳統音樂的硏究現況和保存狀況，還有對中 國傳統音樂的收集和整理過程，分了個時期，作了個詳細論述.