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Gonghu is the first instrument in the historical documents about Korean music, and has a very interesting story about it. In ancient times a fisherman's wife sung with Gonghu about an old man's sorrow who drowned himself in a river. Later on Yeo-ok and Yeo-yong made this Gonghu song very popular, and then the words of this song was preserved in the form of poem. In the Chinese documents there is a song title of Gonghuin which is one of Sanghwaga(相和歌), popular song in the period of Southern Dynasties (R.C5~6th centuries). With the resemblance of song title, we can say there is possibility that the ancient Korean Gonghu song became prevalent to the land of China, even the Southern Dynasties. But it is hard to prove this assumption because of the lack of documentary sources. Actually in antient times the concept of national border did not exist as well as the one of nation itself Moreover during the ancient times Korean people basically cultivated field and also were in nomadic life. Therefore it is quite natural that they got the cultural exchange between different ethnic groups especially in northern part of Korean peninsula. Under this half nomadic and half farming life style, the Gonghu song could be prevalent to eastern and western part of Asia. As Zhang Jian of Han Dynasty had already have traveled over the Pamirs through Central Asia, even in the ancient times there was already a great movement of cultural exchange. We can imagine that ancient cultural exchange especially in Asia with the haegum distribution. Haegum is originated from the upper middle of Nanhe, where had been belonged to the district of ancient Korea. Xi tribe ("Hae tribe" in Korean) was one of Donghu tribe who had lived in Rehe district, and they made the two stringed zither, haegum. After Haegum was introduced to China, it has diverse Chinese names like Huqin, Nanhu, Wengzi, ect. There is another Chinese name, erhu which became a main instrument later in traditional Chinese ensemble. Koreans pronounce erhu "ee-ho". In Korean "ee" means two, and "ho" means "borderlands". Therefore "ee-ho" means two stringed instrument from borderlands. Haegum spread far and wide along the Silkroad. In Kazachstan there is two stringed instrument, so called "kobyz" resembling haegum; there are two kinds of kobyz, "kylkobyz" and "narkobyz". Especially Shaman uses kylkobyz, whose materials can be made by eight different materials. It is very interesting because Korean haegum also can be made by eight different materials. On the other hand Kirghizstan and Uzbekistan also have bowed instrument like haegum. It is called "kiyak" or "ghichak", maily producing sound to mimic animals. It is common use with haegum because in ancient times haegum also produced human and animal sounds. Actually the word, "kobyz" is Turkish. Mongol has a same instrument, which is "khuur". Nowaday the most popular instrument in Mongol is two stringed instrument "marin khuur" with a horse head ornamentation. It is known as "madugum" in Korea: "ma" means horse, and "du" means head. Korean haegum had been introduced to the eur-asia world like Iran, Armenia, Georgia, and Azerbaijan, denominating "kamanche" or "kemanche", and to Turk and Egypt, "rabab". Therefore Mogolian "morin khuur", Armenian "kamanche", and Turkish "rabab" all belong to the haegum family. The Korean two stringed instrument, haegum which originated from northeastern Asia, especially Xi tribe (Hea tribe), was disseminated to the western world following the trading and cultural exchange. The Studies on ancient Korean instruments like heagum has historic importance in music history, establishing the connection of musical instruments between the orient and occident world.

Yeongsanhoesang in Daeakhubo(大樂後譜, 1759) has two melody lines. The first melody was a copy of the Yeongsanhoesang in Hangeumsinbo(韓琴新譜, 1724). The duration of each tone of the original melody might be changed by using the mensural notation. The scores in Hangeumsinbo do not show the duration. Yeongsanhoesang in Daeakhubo has many problems. One of the biggest problems is that only Yeongsanhoesang was written in six great net-rope notation made up of 20 squares. All the other pieces in Daeakhubo were written in the same six great net-rope notation made up of 16 squares as that used during the reign of King Sejo(世祖, 1455~1468). Recently it was found that Yeongsanhoesang in Daeakhubo turned out to be a fake that had been inserted much later days. Through the analysis and the comparison of the two melodies, it was proved that there is no relationship between them. The second line that has no similarity with the first was full of skips without any possible reasons. Several different opinions that had been made on the second melody proved to be wrong. The original Yeongsanhoesang score in Daeakhubo disappeared and a forgery was inserted. The forgery was of the same six great net-rope notation made up of 20 squares as that of Sokaktwonbo(俗樂源譜). Both Sokakwonbo and Yeongsanhoesang in Daeakhubo were made at the same time by the same people with the same purpose. The fact that the wood block printed notation they used are just same proves it. The notation of 20 squares was made to get rid of Korean traditional six great net-rope notation made up of 3-2-3-3-2-3 squares that was made on the basis of Yin-yang theory. Getting rid of the original 3-2-3-3-2-3 square notation was one of the musts in the process of changing all the Korean court music into one-tone one-beat style like Royal Ancestral Shrine Music. Consequently, all the Korean court music lost the original regular rhythmic cycles.

Korean traditional rhythm studies are important because, unlike the rich harmony based theories of Western music, the history and theories of Korean traditional music have been traced and createdfrom only the rhythm and melody. This is why the studies of Korean traditional rhythms are important and the reason why this thesis will focus on theses that have been written on this particular subject, between the years of 1957 and 2002. This thesis will not only discuss the research tendencies of rhythm studies in the past, but also reveal problems that have not yet been solved. In this thesis, the contents of the dissertations have been analyzed and summarized into the following six categories: 1) Studies on the jangdans (rhythmic cycles or patterns) of different genres. 2) Studies on the use and applications of jangdans. 3) Studies on the notation theory of jangdans and rhythm theory. 4) Studies on the historical changes of jangdan and the viewpoints of them 5) Studies on the estimated duration of jeonggans (square notation form) andtheir current theories. 6) Studies on the jangdans that appear in go akbo (ancient music sheets) and etc. Also, the (research tendencies) of these (theses) have been organized in the following: First, in order to examine the increasing interests in this field of jangdan studies, the time periods of theses have been divided into three separate time spans. 1957~1990 being the first, 1991~1996 the second in which research escalated the most, and 1997~2002 being the third. Second, perspectives and interest range have widened from braking down studies into separate categories, as mentioned earlier, to looking at the subject as a whole. Third, scholars have researched the following subjects: Lee, Hye kyu has done a continuous study on the durations of the jeonggan; Lee, Bo hyeong began writing about the jangdan gujo (rhythmic structures) of different genres such as pansori(dramatic song) and muga(shaman music) and gradually moved towards notation theory and rhythm theory Jeon, In pyeong has done research on the jangdans in go-akbo Nam, Sang sook has been successful in correcting the present theories for the naejae yul (flowing rhythm) in go akbo Baek, Dae woong's theory, which can be studied in numerous graduation dissertations that have been written from his teachings, is based on the idea that traditional music should be studied as a whole instead of separate individual categories; Finally, musok jangdan (the jangdan of shamen music) and all subjects related to this have been and are continually being written by Choi, Jong min Choi, Nan gyeong Im Su jeong Yu Kyeong hwa and Jang Hwi ju. All these theories are currently in the process of being corrected and or developed. The growth and development of jangdan studies in Korean traditional music, rhythm theory, periodic changes, the concept of jangdan and type, the relations between speed and melodic phrases, the relations between the go akbo and current music books need to be further researched in depth. Also, the jangdan of musok music is definitely a subject waiting to be developed. I have always had a personal interest in the existence and use of jangdan. As long as I believe that jangdan is an important factor in Korean traditional music, I will continue to research the subject.

The Maehwajeom rhythmic cycle is composed of 5 points. They are divided evenly into Yin points(●) and Yang points(○). This is a very systematic and scientific rhythmic cycle replayed in spite of having a half Gak. 1) The basic point number of Gagok is composed of a total of 150 points/the first movement-20 points, the second movement-17 points, the third movement-23points, Jungyeoeum-10 points, the fourth movement-17 points, the fifth movement-30points, Daeyeoeum-33 points). 2) The playing method of Janggo is composed of the great absolute, Jungyang, Soyin, Soyang, Jungyin, each of which belong to the great absolute (??) and 4 Images such as Taeyang(=), Soyin(=), Soyang(=), Taeyin(==). Actually Teong, Deok and Kung each belong to the great absolute, Yang and Yin. 3) The Maehwajeom rhythmic cycle was first created by Jang woo-byeok, singer of Jeongjo period. 4) The Maehwajeom rhythmic cycle is basic on Ujo Isakdaeyeob and Gyemyeonjo Isakdaeyeob. It is composed of four breaths of breath measure, 5 points 8 beats and it is a rhythmic cycle of straight tone. The first Gak is composed of 11 beats of 16 beats and belongs to Chodu of the first Gak. And each Gak of Gangak, Kunggak, Tunggak, Deogak is the unit of two beats divided into breath and breath. The vocal sound of Janggo appears as Teong(●)-Deok(?)-Kung(●)-Deo(?)-Deok(?). Teong( ●), Kung(●), and Deok(?) of the latter belong to Yin point(●) of the Maehwajeom rhythmic cycle, and Deo(?) and Deok(?) of the former belong to Yang point(O). Deok(?) of the former belong to the present Deoreoreoreo(?), and Deok(?) of the latter belong to the present Gideok(□). 5) The Maehwajeom rhythmic cycle was transmitted by 『Gagokwollyu』, 『JeungboGagokwollyu』, 『 Hyeobyuldaeseong』, 『Haedongakjang』, 『Gagokseon』, 『Lyeochanggayorok』, 『Sijoyuchi』, 『 Ayanggeumb o』, and so on. It is composed of 5 points. They are divided into Yin points(●)과 Yang points(○). This is manifested in two types of '●-○-●-○-●' and '●-○-●-○-○'. '●-○-●-○-●' of the Maehwajeom rhythmic cycle composed of 3 Yin points(●) and 2 Yang points(○), is a more systematic and scientific rhythmic cycle replayed in spite of having a half Gak than '●-○-●-○-○'. 6) The Maehwajeom rhythmic cycle is played with a single hand. Yin point(●) is played with the left hand and Yang point(○) is played with the right hand. The present Teong(①), Kung(○), or Gideok() belongs to Yin point(●), and Deok(|) or Deoreoreoreo (?) belongs to the Yang point(○) 7) The present Gideok(□) belongs to the Yin point(●) in the Maehwajeom rhythmic cycle, but to the Yang point(○) in the Janggo rhythmic cycle. And the present Teong(①) belongs to Yin point(●) in the Maehwajeom rhythmic cycle, but to the great absolute(●-○) in the Janggo rhythmic cycle. Because the Maehwajeom rhythmic cycle is replayed in spite of having a half Gak, Gideok() belongs to Yin point( ●) 8) The Maehwajeom rhythmic cycle is the basic rhythmic cycle of Gagok and is a very systematic and scientific rhythmic cycle replayed in spite of having a half Gak. The half Gak in Gagok is composed of 5 points 8 beats or 5 points 5 beats and is matched to the Maehwajeom rhythmic cycle.

Korean traditional rhythm studies are important because, unlike the rich harmony based theories of Western music, the history and theories of Korean traditional music have been traced and createdfrom only the rhythm and melody. This is why the studies of Korean traditional rhythms are important and the reason why this thesis will focus on theses that have been written on this particular subject, between the years of 1957 and 2002. This thesis will not only discuss the research tendencies of rhythm studies in the past, but also reveal problems that have not yet been solved. In this thesis, the contents of the dissertations have been analyzed and summarized into the following six categories: 1) Studies on the jangdans (rhythmic cycles or patterns) of different genres. 2) Studies on the use and applications of jangdans. 3) Studies on the notation theory of jangdans and rhythm theory. 4) Studies on the historical changes of jangdan and the viewpoints of them 5) Studies on the estimated duration of jeonggans (square notation form) andtheir current theories. 6) Studies on the jangdans that appear in go akbo (ancient music sheets) and etc. Also, the (research tendencies) of these (theses) have been organized in the following: First, in order to examine the increasing interests in this field of jangdan studies, the time periods of theses have been divided into three separate time spans. 1957~1990 being the first, 1991~1996 the second in which research escalated the most, and 1997~2002 being the third. Second, perspectives and interest range have widened from braking down studies into separate categories, as mentioned earlier, to looking at the subject as a whole. Third, scholars have researched the following subjects: Lee, Hye kyu has done a continuous study on the durations of the jeonggan; Lee, Bo hyeong began writing about the jangdan gujo (rhythmic structures) of different genres such as pansori(dramatic song) and muga(shaman music) and gradually moved towards notation theory and rhythm theory Jeon, In pyeong has done research on the jangdans in go-akbo Nam, Sang sook has been successful in correcting the present theories for the naejae yul (flowing rhythm) in go akbo Baek, Dae woong's theory, which can be studied in numerous graduation dissertations that have been written from his teachings, is based on the idea that traditional music should be studied as a whole instead of separate individual categories; Finally, musok jangdan (the jangdan of shamen music) and all subjects related to this have been and are continually being written by Choi, Jong min Choi, Nan gyeong Im Su jeong Yu Kyeong hwa and Jang Hwi ju. All these theories are currently in the process of being corrected and or developed. The growth and development of jangdan studies in Korean traditional music, rhythm theory, periodic changes, the concept of jangdan and type, the relations between speed and melodic phrases, the relations between the go akbo and current music books need to be further researched in depth. Also, the jangdan of musok music is definitely a subject waiting to be developed. I have always had a personal interest in the existence and use of jangdan. As long as I believe that jangdan is an important factor in Korean traditional music, I will continue to research the subject.

The history of Korean music is a history of mixing with foreign musics Koreanized through the process of assimilation. It appears that no mutually heterogeneous musics have been so intimately mixed in Korea as these days. No two heterogeneous musics can be really mixed with each other without the power of harmony contained in their inherent attributes. This study is made in the expectation that modem Koreans' soul-searching will be able to find a clue in the past history of music. Theoretically, the musics that our ancestors enjoyed have similarities to western musics in terms of the structure. The musics of the Goryeo Dynasty handed down to the Joseon Dynasty included many pieces of Chinese musics composed of 7-note scales. These were used as basic materials in making new types of musics in early Joseon Dynasty. The musical tones appearing in musical scores for three wind instruments in Samguksagi published in 1145 also include the names of popular musics of China. These show that the use of 7-note scales in Korea dates back long ago. The Geomungo(Korean six-string zither) section of Akhakgwebeom shows various methods of tuning the musical instrument, such as Nakshijo, Ujo, Choejajo, Takmokjo and Cheongpungche. It appears that the techniques of tuning in the past had a wider variety than those used these days that are chiefly composed of two, i.e. jeongak and sanjo. As such, it is guessed that the nation's past history of music contains various structural factors (such as notes and methods of tuning) that can be used to develop the diversity. Thus, it will be a worthwhile attempt to explore such factors to use them for creation of modem-day Geomungo musics.

"Haeng-ak" is defined as 'a music performed while marching', and the band playing Haeng-ak in principle gave a performance with participating in the procession. This research examines the types and characteristics of bands that played Haeng-ak with belonging to the Court, government offices, or military camps, and identifies their relationship with Haeng-ak, military music, Gochwi-ak, and Chwita-ak. The purpose of this research is to highlight the importance of Haeng-ak in the Joseon Dynasty. The Haeng-ak band types of public organizations such as the Court, government offices and military camps were different in the first half and the latter half of Joseon Dynasty and their features were also different in the composition of the band members, the spheres in performance activities, instrument organization, repertoire, and uniform color. The bands that played Haeng-ak with belonging to the public offices such as the Court, government offices and military camps included Jeonbugochwi(前部鼓吹), Hubugochwi(後部鼓吹), Chwigosu(吹鼓手), Se-aksu(細樂手), Chwitanaechwi(吹打內吹), Se-aknaechwi(細樂內吹), Geumgo(金鼓), and Chwigak(吹角 ). These bands may be divided into Gochwiakdae(鼓吹樂隊), Chwita-akdae(吹打樂隊), Chwigak and Geumgo in the aspect of form, and also divided into Gochwipyeonseong(鼓吹編成), Chwigosuakgipyeonseong(吹鼓手樂器 編成), Samhyeonyukgakpyeonseong(三絃六角 編成), Geumgo and Chwigak in the aspect of instrument organization. The procession types of public offices in the Joseon Dynasty included Geodung(擧動) procession of the King, the procession of military camps, the procession of Gwanchalsa(觀察使) and the procession of Sasin(使臣). Haeng-ak played were different depending on each procession. In the course of studying the Haeng-ak bands, this research defined the music of Chwigosu, Se-akso, Chwitanaechwi, and Se-aknaechwi, military bands in the Joseon Dynasty as "Chwita-ak", differently from "Chwita", the title of a tune. "Gochwi' and "Chwita" are all the same in the meaning, but they are different in terms of music. The Gochwiak in the Joseon Dynasty is 'Jeonjeong-ak"(殿庭樂), while Chwita-ak is military music. Though both Gochwi-ak and Chwita-ak were used as Haeng-ak, they may not be necessarily regarded as Haeng-ak. In addition, this research considered Chwigak and Geumgo as a kind of Haeng-ak bands, composed of performers attached to military camps, though they are insufficient in their musical features. Since Haeng-ak is an important offshoot of Korean traditional music, it is necessary to systematically study its various features as well as types and characteristics of bands. This research leaves the musical relationship between military camps and government offices, the status and activities of band members, civilian Haeng-ak and so on as the future tasks.

There is a popular belief that there are two distinct traditions of farmers' band music in Jeonla Province: jwado(left) and udo(right). The common outline of the two traditions, however, reflects the outsider's etic perspective. When we investigate the individual band musics in Jeonia province, we can notice that each village band music differs one from the other in its components, clothes, music, and so forth. In order to construct a general delineation of a cultural tradition of jwado band tradition, we need to delve into the detailed traits of each village's band music practice. Three troupes - Imsil Pilbong, Jinan Jungpyeong, and Namwon - are still active among many village traditions in jwado tradition. They have a common performing lineage of semi-professional or professional band tradition with masterful performers. They are training tens of thousands of students who are searching for the so-called "national music." While these troupes have become big businesses, other village traditions performed by amateurs have been vanishing. Even the surviving band has become "performing arts" which are presented in a public stage divorced from its cultural context. With the emergence of samul nori (percussion quartet) and the gravitation of the attention toward the big three troupes, each village tradition has begun to modify their performance so that the diversity of jwado tradition is indistinct compare to earlier days. For instance, the buk (barrel drum) which was not employed in many villages due to its clamourous sound that did not harmonize with delicate rhythms of the soe (small gong) and janggo (hourglass-shaped drum). The buk has become an indispensable instrument to the band to compose the samul ("four objects") since the 19805. The members of jwado band do not always wear jeonlip (rounded hat) contradictory to the common view. The members of a band descended from the (semi-)professional band tradition normally wear the jeonlip to exhibit various performances with it. The members of the village bands seldom wear the jeonlip because they cannot accomplish such a highly-skilled performances as the professional musicians do. Today, farmers' band music admirers and scholars worry that it is losing its diversity because of the emergence of samul nori and the popularization of florid big bands. In order to revive the precious traditional cultural artifacts, we should bring back to life of the philosophy and aesthetics of the farmers' band music - the solidarity of village people and the diversity of village tradition.

This thesis attempts to reveal historical step on the characteristics and performing repertories of Sadangpae(社堂牌) dismissed in the early twentieth century. They changed three times from formation to dissolution of Sadangpae. The first step that showed its appearance from fifteenth century to sixteenth century. During this period, they showed a similar role with monk as the second Buddhist ritual group. The second step is the entertainment group for offering on seventeenth and eighteenth century. The last, it had existed as a vagabond performing group on nineteenth century. Sadangpae's transformation through the Chos?n dynasty had been influenced by Chos?n's policy for suppressing Buddhism Sadangpae's performance repertories had been also influenced by transfiguration of its characters. At the first period, when Sadangpae showed a similar role with monk as the second Buddhist ritual group, they mainly gave a performance of p?mpae(梵唄, Buddhist chant) and ye?mbul(念佛, a Buddhist invocation). On second period, when it was the entertainment group for offering, the repertories were changed to ye?mbul(念佛), folk songs(民謠). Lastly, folk song was the main repertories during the time of a vagabond performing group.

This study aims to investigate the level of school teachers' awareness about the problem concerning the multicultural music education based on the adaptation of world music. For the investigation, the direct paper survey was used. This study also aims to explore a solution and complementary method toward right developmental direction of Korean music education system concerning this matter. The result of this research is as follows: Most teachers, we surveyed, fairly aware about the necessity of multicultural music education in school class, however it is revealed that this is not adequately educated in school system at the moment. The problem seems to provoke from the aspects of education circumstance or school system rather than the insufficiency of the teachers' awareness about this matter. Also, it was found that students are usually not familiar to Korean traditional music, so its education is not effectively accomplished in school education system at present. To solve this problem, it was suggested by many teachers that Korean traditional music should be globalized based on the today's sensibility. If the globalization of Korean traditional music can be successfully made, it is accordingly assumed that the gap between class music and living music will be getting smaller and the Korean traditional music will reflect the sentiment of most students. Finally, it is urgently necessary to develop audio-visual teaching materials and song collections from various cultures for developing multiculrural music education in schools. These materials will offer teachers correct information and knowledge about various music cultures in the world and thus this will accordingly contribute to make the basement that students could be brought up as citizens of world, based on the wide understanding of multiculture of the world.

The Jindo Arirang is a folk song formed in 20 century. Some parts of the music are originated from Sanagy taryung of a folk song of Namdo province. Other parts of the music are originated from Namdo Arirang under the influence of Milyang Arirang. Jinda Arirang is a interesting song in which distinctive characteristics of two songs are put together. In this article we confirmed presence of Namdo Arirang which was the foundation of linda Arirang and looked into a few songs. Namdo Arirang is a good example to examine how singers from Chonnam province accepted and modified nationwide popular Arirang. Besides, through the diverse forms of Namdo Arirang, we can draw the conclusion that linda Arirang is not merely the creation of one person, Park Jong-ki but cooperated work of people, showing the characteristic of the folk song. Although Jindo Arirang is new folksong, this song was voluntarily accepted by the regional singers. And Jindo Arirang became one of this regional musical culture in a relatively short time and played an important role in expressing diverse emotions. In addition, Jindo Arirang has been elevating its position that represents the region.

Although the contemporary Gasa and Japga have been considered as different kinds of music from each other, this notion has been consolidated after the 1940's in South Korea, and they had not been different from each other by the early 20th century. Each of them had been a popular and entertaining music performed in the entertainment places of the bustling town. The condition of the growth of them was the change of rural area society and the economic development of the suburbs of Seoul in the late Josun Dynasty. Japga was especially a category where some different kinds of music were mixed. It can be argued that Gasa was formed from Japga in the early 20th century, which means that the several music considered as lofty and elegant ones among Japga by the singers were called as the name of 'Gasa'. In fact, many repertoires of contemporary Gasa were classified as Japga in the early 20th century. During the period of Yiwangjik a-akbu(court music department of Lee Dynasty in the period of Japanese colony), Gasa was considered as a kind of 'right music' and Japga that of 'low' or 'vulgar' music, and this notion has been solider after then.