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It has been ten years since Prof. Sa-hoon Chang (Un-Cho) passed away. Therefore, it is time to think about how much we have succeeded in developing his academic works and spreading his love of Korean music. Prof. Chang worked in Chongju University for ten years (March 1982- September 1991) before his death. During that time, he founded the Department of Korean Music and taught students with all his heart. Lots of critics regard these ten years as the time of most Un-Cho's meaningful contribution to Korean Music. Therefore it is very important not only to analyse the academic tendency of Korean Music pre-and post- 1982, but also to review the academic courses in the Department of Korean Music. It is also important to examine the "Museum of Korean Music" at Chongju University to determine if it is a good representation of Un-Cho's Korean Music.

I am going to examine the late Dr. Jang, Sa-hun's theoretical study on Korean music from the point of the pitch, the length, the colour and the texture. In the Choesin gukak chonglon ("The Introduction of Korean Music", 최신국악총론, published by Segwang Music Press, 세광음악출판사, 1985), one of his representative works, Dr. Jang had already shown his ideas on the four points of Korean music, which I just mentioned the earlier. The pitch system of Korean music has five steps such as elementary tone (tuning tone), tone system, scale or the mode, the tori (토리) and the melody. Dr. Jang insisted that the minor third interval existed between the elementary tone of A-ak (아악) and Hyang-ak (향악) had not been found at the times of King Sejong when Akhakgueheom (악학궤범) was published, around 15th century, in Choseon dynasty. Dr. Jang described well the scale and mode of the Jeongak (정악, Court music) and Minsokak (민속악, Folk music). His scale theory tends to be appeared as modulation (변조). Tori (토리) includes the scale, the function of the tone, the type of the ornamentation and a method of the melodic progress. Dr. Jang described an interval, Yoseong (요성), Toeseong (퇴성), ornamentation, finale, and melodic type, while he was explaining the mode of the Minsok-ak (folk music, 민속악). This method is regarded as the major concept of the tori(토리). However, his explanation is not enough to identify scale, mode, tori(토리) and seem to fail to explain the concept correctly. I think that's his limitation. As for the research related to the melody, Dr. Jang explained the melody of finale. Also, he mentioned the method of inserts an ornamental tone in the major tones of melody. However, in my view, he lacked full explanation of the melody. The length of tone consisted with five steps such as beat, meter, Jangdan (장 단), rhythm and melody. Dr. Jang's study about the length of tone told us only about Jangdan (장단). Among this, the section of Maehwajeom Jangdan (매화 점장단) is worthy to discuss. However, this, too, is a simple explanation. I think more research should have been done than this. There is no particular thing to be discussed in Dr. Jang's study of the tone colour, except the research of the change of the vowel by the song. (변모음) However, I think even the change of the vowel is not enough to be paid attention because it is Dr. Jang's personal opinion. Dr. Jang's research on the result of texture in Korea music is somewhat inconsistent with each other so there is no form to be explained under the same level. In summary, the characteristic of Dr. Jang's theoretical research on Korean music was the fact that it was an analyzation used by a real music and that he had drawn some musical rules out of it. I think that it was possible because he was a Geomungo(거문고) player. One hand, however, the theatrical thesis is not clear enough while his musical analyzation seemed to be successful. But, more importantly, his studies has still had a great influence on Korean music theory.

Even though Dr. Chang Sa-hoon contributed enormously in the Korean traditional music, the evaluation on his achievements was relatively not well known for his educational research on the Korean traditional music. The purpose of this article is to memorate and spread his unknown work on the Korean traditional music community after 10 years of his death, and this thesis can be summarized as follows. First of all, there are many Korean traditional musicians who showed interests in the Korean traditional music education, however, it is very hard to find someone who showed interests the Korean traditional music education for elementary, middle school students and general public in real world. Therefore, his work and existence grabs the artention. In other words, he recognized the differences between the Korean traditional music and education of Korean traditional music, and he emphasized the need of the Korean traditional music educator. He emphasized the importance of the general education on Korean traditional music in many ways. Dr. Chang formed the Korean traditional music education, which is its former self of Society for Korean Music Educator's, and he provided materials, lecturers, books and educational methods required for the Korean traditional music education to elementary, middle school students and teachers. He introduced chances for student to show their Korean traditional music ability by creating various Korean traditional music contests for students, and he put a lot of positive efforts to activate the Korean traditional music by the general public. In addition to this, he created the Korean traditional music as a university course for the first time in Korea, and he hardened the ground for the Korean traditional music as the educational course. After his retirement, he achieved to set up the Korean traditional music course at Chungju University as a new challenge, and he left a big mark in the specialized education for the traditional classical music. In short, Dr. Chang Sa-hoon shall be remembered as a leading light in the Korean Traditional Music, whom settled the Korean traditional music education from elementary, middle school students to general public, as well as Korean classical music education for the experts.

It is ten years since Uncho Dr. Jang Sa-hun(1916-1991) passed away. With Dr. Yi Hye-gu, Dr. Jang Sa-hun played a crucial role of establishing the academic foundation of Korean musicology as the first generation, publishing more than forty important works including the first book, 『Minyo wa Hyangto akg』(민요와 향토악기) in 1948. The studies performed by Dr. Jang Sa-hun cover all kinds of theme in almost all ages. They include the musical history from the ancient to the modern and the whole musicology. The written materials he read extensively were the ones which had not been introduced or had been neglected in academic circles. Dr. Jang made them come to the outer world and extended the scope of Korean musicology to the great extent. In "Samguksagi Akji ui Sinyeongu"(三國史記 樂志의 新硏究 ), he exclusively dealt with music and music instruments in Three Kingdom Age and in "Jangakwongo"(掌樂院攷) and "Yijo ui Yeoak"(李朝의 女樂), he argued about the musician and musical institution in Joseon period. In "Hanguk akgi ui Byeoncheon"(韓國樂器의 變遷), he talked about the transitional process of musical instruments from those of the ancient to the new ones of the late Joseon. There are his profound academic achievements associated with Jeongjae(呈才), such as the papers, "Jeongjae Changsa gwangyu"(呈才唱詞 管窺, 1966), "Hyangag Jeongjae wa dangag Jeongjae"(鄕樂呈才와 唐樂呈才, 1977), 『Hangug Jeontong muyong seoseol』(韓國傳統舞踊序說, 1977), and the books, 『Hangug Jeontong muyong yeongu』(韓國傳統舞踊硏究, 1977) and 『Hangug muyong gaeron』(韓國舞踊槪論, 1984). In "Jangagwongo"(掌樂院攷, 1981) dealing with the Jejo(提調) of previous Jangagwon and Agje(樂制) of Jangagwon is the writing of Jangagwon open to the approaches to the music sociology and the history of institution. Dr. Jang Sa-hun extended the study area of musicology, consistently introducing new documents into the academic circles and producing the achievements based on them. He tried to develop new themes that have never been argued as the object of musical history. In addition, his achievements became the ground for Korean musicology to take a step forward. It should be considered whether 'now and here' of Korean musicology including the excavation of materials is more advanced and extended than the accomplishments Dr. Jang left or not. That is, we should think of how many materials have been newly discovered and how much efforts have been made and what the improvements in the interpretation of materials are after his death.

It is retrospected and considered that Prof. Chang Sahoon had published the research materials related to musical instruments in his treatises and books. And then it is studied what extent the research on musical instruments were accomplished. As results, there were presented various classification for correct comprehension of the traditional instruments in the materials. And there were illustrated the characteristics in detail - a organization as well as a history, a material, a system, a tone, a tuning and a use of each instruments. On the other side, there were mentioned partially in regard to the instruments for Sanzo and the improved ones. As considering that the performances for Sanzo and the creative music take specific gravity in these days, it is thought that a detailed research is needed in these parts. Though it tends that some music scholars research into the instruments for Sanzo, the improved and the used in private, the results of active research are expected.

Uncho Jang Sa-Hoon has arranged the Korean music history three times. In describing the Korean music history, he combines the kingdom-wise distinction with the music styles. His rearrangement of the Korean music history is characterized as follows ; first, the music during or before Koryo dynasty is described in reference to the ancient music literature of Korea, China and Japan. Second, the music during early Chosun dynasty is described in reference to literature and musical notes with the focus on actual musical changes. Third, the music during late Chosun dynasty is described centering around Gagok, Gasa, Sijo and Pansori. Furthermore, he describes the changes of the Korean music even since 1945 only to help establish the backbone of the Korean music history.

Compared with his tremendous work in aristocratic music, Dr. Jang Sa-hun has done research in folk music less in quantity. However, his work in folk music are considered very important : description about folk songs such as Arirang and Gilsori, study of Seansori Santaryeong, and theory about musicians, jangdan(rhythmic pattern), tori(musical idiom) are very helpful to the junior scholars. For example, some of his view that Gangwondo-arirang is the original in the folk songs called Arirang, Pungnyeonga, a song of Gyeonggi Province, was derived from Gilsori, Semachi is not a usual jangdan, Gyemyeonjo is defined not just by tonal structure and mode but tonal hierarchy and ornaments. His outstanding view about music such as these are very intuitive, coming from his musical experience as a geomungo player, and work experience at Iwangjikaakbu(the Music Institute of Yi Royal Family) and Gunggip-gugakwon(the National Center for Korean Traditional Performing Arts)

Jongmyojeryeak, the No. 1 of intangible cultural asset of Korea has all the 500-year history of Chosun Dynasty contained in it and is the cultural heritage of the highest value and cultural importance. The UNESCO conference held in Paris, France this year declared it as 'the masterpiece of human words-of-mouth and intangible heritage,' placing it to the level of the world's admiration. This study intended to reconsider and illuminate Jongmyoilmoo of Jongmyojeryeak, the No. 1 of intangible cultural asset of Korea, assuming this kind of work would shed another new and fresh interpretation of traditional culture, Unlike other Korean traditional dances, Jongmyoilmoo has its details recorded in 『Siyongmoobo』which is one of the most valuable historic documents concerning Korean traditional dances, thus enabling itself to be preserved and inherited correctly. It surely falls under the category of Korea's cultural assets of a great historic and artistic value. An analysis was made on the composition systems of technical term and its arrangement found in 「Botaepyunggimoo」 in 『Siyongmoobo』which consists of today's irregular and regular long and short rhythms, in order to search for the ways to harmonize each performance of Jongmyojeryeak and Jongmyoilmoo, that is, to match the theories and the practices. The results of the study are as follows : 1. There should be 'Haphyung(centering upon chest)' at Gochooksamsung following the first beat of beginning music. And 'Hasu(let down)' with the right hand should be made in one note or two notes at the first dancing passage of the second beat. 2. 'Jeomyoo' and 'Hasu' with the left hand should both be made in two notes at the first dancing passage of development step. 3. 'Yangsugeogyon(put both hands on shoulder)' must be made in four or three notes from the left side with both hands at the first dancing passage of conversion step. 4. 'Bokpa(grasp belly)' to the front side with both hands should be made in two notes at the first dancing passage of conclusion step. 5. Every last technical term of each passage including 'Hasu' of introduction step, 'Hasu' of development step, 'Yangsuhasu(let both hands down)' of conversion step, and 'Haphyung' of conclusion step should be made in one note or two notes whether it's an independent dancing passage or complex one. 6. Every technical term at the other middle dancing passage should have two core notes from which one + or - note will be made. 7. The most important and last step to harmonize dance and music as one is to decide the bar of three notes among the bars of three or four notes which can be an independent or a complex dancing passage in any piece.

The ten tones in Pyoungjo平調 have same function and moving method of the ten tones in Gyemyounjo界面調, simultaneously different function and moving method of the ten tones of Gyemounjo. It is possible to use as a ending tone which are Hai下二, Kung宮, Sangi上二, and sangsam上三 in Pyoungjo and hasam下三, kung宮, sangi上二 and sangsam上三 in Gyemounjo. There are several tones, which are able to use Yoseong搖聲, they are Hasam下三, Hai下二, Kung宮, Sangi上二, Sangsam上三, and Sango上五 in Pyoungjo and Hai下二, Sangi上二, Sangsam上三, Sangsa上四 and Sango上五 in Gyemounjo. Teonunsori떠는소리 is found by Hasam下三 and Kung宮 In Pyoungjo and Gyemounjo.

The purpose of this paper is to examine Yi Seon-yu, the master singer of pansori (Korea's folk dramatic song sung in solo) in terms of his life and art, the words, and the characteristics of his music. These could be summarized as follow. 1. Related to his life and art, the following six matters are studied. First, through the interview with Yi Mo-sang who is Yi Seon-yu's daughter, it is confirmed thar he was born in 1873 and passed away in Jangdae-dong, Jinju-si, Gyeongnam province in April 1949. Second, He came of a reputable family of not only music and dance but also paintings. Third, the master singer, Yi Seon-yu had lived with his family for a long period of time until he died. And his youngest sister, Yi In-ja provided him and his family with an economic support. Fifth, Yi Seon-yu taught pansori at all over Hadong and Jinju area in Gyeongnam province, and used to transmit his music in Jinju-gweonbeon(literally means a union of female entertainer, gisaeng). Sixth, when he was a teacher in Jinju-gweonbeon, he made records of his music in Japan and he also left a complete work of the words of the five stories of pansori, 「Ogajeonjip」. 2. Through the detail examination of the master singer, Yi Seon-yu's Ogajeonjip, I reached a certain conclusion ; Yi seon-yu's words(사설) are classified into rather "old style"(고제) since his words are less specialized in daemok, an important part of the story, than those in Dongpeonje style are. In addition, some misspellings and dialects are mixed in Yi Seon-yu's words. 3. I reached the same conclusion as above(No. 2) after a study of the musical characteristics of the master Yi Seon-yu in terms of vocalization, mode, buchimsae(the way of setting words to melodies), and ornamentation.

Confucius suggested 'Having no depraved thoughts'(思無邪), 'Enjoyment without being licentious and grief without being hurtfully excessive'(樂而不淫, 哀而不傷), and 'hatred of the music of Zheng(惡鄭聲)'. These are not what emphasize the function of music that express emotion, feeling, or desire, but conclusions based on ideas of Confucius like the harmony among class and the spread of benevolent government, etc. That is, music to Confucius was not a kind of thing for the sake of music itself, but a tool for realizing his thoughts, so, for him, music must be coincided with Justice(禮), and the feeling in music must be temperate by being controled by the notion of 'Enjoyment without being licentious and grief without being hurtfully excessive'(樂而不淫, 哀而不傷). For these reason, he hated the music of Zheng(鄭聲) which was the new style at that time, based on the heptatonic scale. For Confucius, the hatred of the music of Zheng(鄭聲) was the conclusion founded on the idea of Justice music(禮樂思想), because the music of Zheng(鄭聲) was quite different from the notion of 'Having no depraved thoughts'(思無邪) and of the 'Enjoyment without being licentious and grief without being hurtfully excessive'(樂而不淫, 哀而不傷) which, Confucius believed, were essential, further, it could not fulfill the function of government and education which music must keep. However, as far as we, modern times, concerned, the music of Zheng(鄭聲) must be estimated objectively by taking notice of music itself.

Each Sanjo has its own originality, and it has the root of its own teacher. Judging from the investigation of Park Sang Keun's and Ahn Ki Ok's musical genealogy, based on literatures, evidences, and situations, Seong Keum Yeon's Sanjo was influenced by Park Sang Keun, but the Sanjo called Park Sang Keun's style would have to be recognized as Seong Keum Yeon's style of Sanjo. And compared musically with Ahn Ki Ok's Sanjo, Seong Keum Yeon's Sanjo, contrary to the existing results of previous studies, does not seem to have inherited her teacher Ahn Ki Ok's melody, but a common feature of melody can be found only in Kim Chang Jo's Sanjo. It seems that Ahn Ki Ok handed down his teacher Kim Chang Jo's melody directly to Seong Keum Yeon. Therefore, Seong Keum Yeon's Sanjo can be considered as Kim Chang Jo's style of Kayakeum Sanjo. The melody of Seong Keum Yeon's Sanjo is found, little by little, here and there in many movements of Kim Chang Jo's Sanjo. And what is more important, the fact that the Jungjungmori of Kim Chang Jo's Sanjo is very similar to the Kutgeori of Seong Keum Yeon's Sanjo testifies this. The melody which is not a common feature must be considered as Seong Keum Yeon's own melody. This runs counter to the existing claim of literatures and studies that Ahn Ki Ok's Sanjo has something to do with Seong Keum Yeon's Kayakeum Sanjo.

Korean funeral music can be classified into two different scopes, narrow and wide. In the narrower sense, funeral music is that which is used for funeral rituals, including some folk songs, such as Sangyeo-sori, sung while carrying the sangyeo (funeral bier). The wider scope would include the music used in cheondo, a ritual of Buddhism or shamanism, to escort the dead to geuklak (paradise). This paper refers only to the former. Various folk songs are during the funeral ritual. Daedodeum-sori is sung while holding the empty sangyeo, the night before it is carried to the tomb. Dasiraegi is a type of song for the consolation of the mourners. Un-gu-sori is sung while transporting the coffin. Sangyeo-sori is sung while bearing the coffin on one's shoulders and marching. Dalgu-sori is sung while returning the earth to the grave. In order to be concise, among these various songs, this paper focuses only on Sangyeo-sori. Sangyeo-sori are classified according to their functions. Barin-sori or Hajik-sori is sung when the sangyeo departs the house of the dead. The original Sangyeo-sori is sung while marching. Another song is sung when walking up hills. This paper deals exclusively with the original Sangyeo-sori. The general traits of Sangyeo-sori are as follows. It is classified as a ritual song on the grounds that it is used during a funeral rite, at the same time it is considered a labor song, because it is performed while carrying the sangyeo. The majority of labor songs have disappeared from contemporary working places, since the mode of manual labor has changed, but only Sangyeo-sori, with its original function, is still sung in certain rural areas. The Sangyeo-sori is performed in the following way : either a single singer will lead a part of the song with the remainder of the pallbearers answering in a responsorial manner, or, the pallbearers will divide into equal groups with the latter answering the former. The burial place is generally located in the hills around a village. As such, it takes quite long time to carry the bier from the house of the dead to the burial site. Along the road the lead singer (seonsorikkun) recounts the feelings of the dead, or describes the scenes of the other world where the dead will stay, or sings about the history of the burial place. Since the Sangyeo- sori is often quite long, it is usually comprised of narrative traits and has a simple melody. Because Sangyeo-sori are sung widely in rural areas and are composed of simple melodies, their research enable us to gain a better understanding of the basis of other Korean folk musics. Several academic methods can be utilized in the study of Sangyeo-sori. First, one could collect all the data and classify it according to type, including geographical distribution throughout the country. Second, research methodology can be divided micro-scopically or macroscopically. Ultimately, the main question to be answered is : "How were Korean songs made?" This question is the reverse of "How should songs be analyzed?" Perhaps the answers to these questions can be resolved, at least to some extent, through the research of Sangyeo-sori. Though it may be impossible to reach a definitive conclusion to all such questions in a brief paper such as this, my purpose is to approach the problems concerning the formation of Korean songs. This papers bound by certain limits, including the problem of collecting enough data concerned with Sangyeo-sori to classify them and examine their distribution. Some materials were added to the main data of 59 airs of Sangyeo-sori recorded in MBC Complete Works of Korean Folk Songs. All conclusions drawn in this paper are justified from that datum. In order to survey the overall characteristics of Sangyeo-sori through all the regions of the country, I selected a piece of Sangyeo-sori from each of the nine provinces of South Korea and compared the refrains or responses(dwissori). Examples are from the MBC Complete Works of Korean Folk Songs(Ex.1-1 through 1-9). Texts, musical forms, tempi, ranges, figures, tones and scales will be observed in order that we see roughly the common and different features. Not that all the examples can be classified into three groups according to their scalar types (Ex.1-10). Objective observation and analyses like this are necessary process of research, but I'm not sure to what extent it contributes toward our reaching the "inside" of Korean traditional songs. Therefore more reflections and investigations on the methodology of analysis, particularly that of musical scale, is needed. Next, various refrains of Sangyeo-sori pieces from the South Gyeongsang Province, where the melodic structures are simpler and materials abide, are compared (Ex.2-1 through 2-11). While the diversity of refrains are the result of certain intentions, the respective results are all different. To comprehend how the songs were made, it is necessary to investigate the causes rather than results. The refrains have, in general, common figures in the beats 1-2, 3-4 and 7-8, while they are different in beats 5-6. Most refrains show similar structures to this. Remembering the difference, we can group them all into one. Now, if we destroy the structure, what remains is the four tones do', la, sol, mi and the movements among them. The four tones which are connected with an invisible bond and the "will to move" therewithin were the very cause. The songs themselves are the result, while the scale derived through analysis is the "result of the result" (Ex.2-12). The cause and the result of the result look similar, but are actually quite different. The approach, most of all, to song is entirely different. The former belongs to "dynamic scale" with movements, and the latter, without movements, "static" ; the former to "collective scale" as a tone-group, and the latter, composed of separated tones, "divisive." Refrains from South Gyeongsang Sangyeo-sori pieces can be considered songs "made (or formed) through unfolding of the dynamic tone-group and movements therein." While the refrain or response is decided through a silent consensus among people engaged in it, the call or utterance(apsori) largely depends on the individual will of the lead singer. Let us see how the call is formed, by examining the Sangyeo-sori from Gimcheon, South Gyeongsang Province, with a simple melody in its refrain (Ex.3-1). The call is divided into two phrases like the reftain. The antecedent of the refrain is in a simple descending figure, while that of the call is in a descending curve. But the tunes of the second halves of both the call and the refrain are identical. Thus the call of the Gimchoeon Sangyeo-sori acquires both organic unity with and melodic independence from the refrain, by a common following and an independent antecedent phrase. The antecedent phrase of the call descends stepwise re'- do', do'-la, and la-sol-mi, with a reverse turn la-do' of the do'-la-do' at the third beat. The second phrase is simpler, with a stepwise ascending figure followed by a descending one. Movements within the given tone-group become concrete with stepwise progressions as well as reverse turns, and a specific progression is preferred among many possibilities. What is notable in the call is the appearance of re', which is absent in the refrain. Thus the call assumes a greater expressiveness than the refrain through the expansion of a given tone- group. While most Sangyeo-sori pieces are in the call-and-response manner, a few are rendered antiphonally between two groups. In this final example, we will observe the antiphonal Sangyeo-sori from Nonsan, South Chungcheong Province (Ex.4-1). The scale of this song can be analyzed in various ways (Ex.4-2). The scale or series in Ex. 4-2-1 notates all the tones appearing, while Ex. 4-2-2 reduces them into a pentatonic one, considering the fluctuating db' of m3 as c'. Ex.4-2-3 is the same scale treated as dynamic or collective, interpreted as a combination of three tone-groups. The tone-group in mm.l, 2 and 4 is composed of c'-b b of, where f is vibrating tone. The tone-group c'-b b -g-f-d, where bb is retreating tone. Thus the movements within a tone- grup are explained as containing such gestures as vibrato, glissando and so on. (Ex.4-2-4 is still another possibility.) A song is made or formed through a simultaneous combination of texts, meanings, rhythm and its patterns, abstract melodic type and concrete progressions of tones, gestures and idiomatic figures, and so on. Thus far we have taken a look into some problems concerning the formation of a song through some examples from Korean Sangyeo-sori.

In the current field of traditional music, many kinds of music and the relevant musical pieces have been handed down either orally or on the scores. The scores of these pieces exist as a valuable literature. In addition, as many of the musics handed down orally have been notated in the modern times, their importance as well as their artistry have been widely acknowledged. However, it is also true that there are various problems exposed to these pieces. Among these problems, the most urgent one is the question of understanding clearly the composition of the pieces. Besides, many different titles given to the same pieces indeed cause substantial confusion in the process of studying them in literature. Therefore, the present study on the traditional music should be the one that would establish the titles of every piece and the consequent relations.

In the mural paintings of ancient tombs from the Goguryeo period the transverse flute appears in two different typologies. One is similar to the modern transverse flute, like daegeum, the other displays unique morphological and performing features. The Japanese scholar Hayashi Kenzo pointed out that the latter is similar to the double-headed transverse flute yangdujeok, but up to now this suggestion has not been yet accurately confirmed. An investigation of old Chinese and Korean literature and the comparitive study of ancient mural paintings of the Goguryeo period has led me to two conclusions. First, the instrument depicted in the mural painting of tomb No. 17 in Jianxian, which Kenzo calls yangdujeok is, in fact, a uichwijeok (or ji). Second, during the Goguryeo period hoengjeok was transmitted to Japan. Until today the hoengjeok musical tradition of the Goguryeo period has been preserved in Korea and Japan.