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There are some songs in Pansori (long dramatic song) which are sung separately as some arias of Western opera are. Some of them are said to be well composed by Pansori singers. These songs are expected to have more cohesion of text structure than those that are not sung separately. In order to examine this, I selected Hwacho Taryeong (Song of flowers) in Simcheongga (Song of Simcheong) sung by Han Ae-sun, which singers say to be well composed. I examined the composition of four types of rhythm in this song on a CD. First, I categorized the types of syntactic structure of Jangdan (rhythmic pattern) seen on the surface structure of Hwacho Taryeong. Then I measured how far they were deviated from the deep structure. The result showed a low extent of deviation in the beginning, highest at about 2/3 of the song then back to low again in the end. I categorized the types of the number of notes in each Jangdan of Hwacho Taryeong. Then I measured the density of notes. The result showed a low density in the beginning, highest at about 2/3 of the song then back to low again in the end. I categorized the types of setting words in each Jangdan of Hwacho Taryeong. Then I measured how far they were deviated from the Daemadi Daejangdan where words fall right on each bears. The result showed a low extent of deviation in the beginning, highest at about 2/3 of the song then back to low again in the end. I categorized the types of the number of notes in each Jangdan of Hwacho Taryeong. Then I measured the density of notes. The result showed a low density in the beginning, highest at about 2/3 of the song then back to low again in the end. I categorized the musical periods that section each Jangdan of Hwacho Taryeong according to the length. The result showed a repetition of short periods in the beginning of the song and ends with a long period. Unlike many other songs that are not composed with this text structure, Hwacho Taryeong reveals that the tension gets increased and reaches a climax at about 2/3 of the song then released, which represents a peculiar cohesion that goes together with literary gradation of citing different flowers.

Traditionally, reciting text has been a principal way of learning Chinese literature. It was referred to as "S?ngtok" literally meaning "reading out the text", the sound of which named "Toks?s?ng" meaning the sound of reciting the text. Reading the Classics was essential part of daily life for "S?npi" in traditional society in which they read the text in spoken form. Styles of narrating varied on the types of texts either prose or verse. "Songs?' means reading out Chinese prose and "Sich'ang" or "Yukh'ang" stands for reciting Chinese poetry. Both "Songs?' and "Sich'ang" have been transmitted to nowadays as a part of Korean Traditional Music. This paper primarily deals with the style of "Toks?s?ng" to further understand the musical aspects of the intellectuals in traditional society. The musical characteristics contained in the sound of "Toks?s? ng" is major concern for research and analysis. To this end, five veteran scholars of Chinese literature trained in a traditional way from the provinces of "Ky?ngsang", "Kangw?n" and "Ky?ngki" have been interviewed to record the sound of their reciting Chinese prose. The sound is scored and the register, scale and mode of the sound are analyzed. Also, the rhythmic pattern of the sound was reviewed to trace its possible relations to the different tones of Chinese language and the short or long vowels in Korean language. The outcome shows that little difference was found with those of regional falk songs in respect of the variability in tempo, register of reciting sound, styles of tonal texture, and the correlation between melody and lyrics. It is concluded from the research that characteristics in "Toks?s?ng" as a style of music could be the rationale for viewing "Toks?s?ng" as one of the musical behaviors by "S?npi" class in traditional society.

This is the summary of thesis of a cadence of geomungo sanjo composed Han Gabdeuk. Geomungo sanjo was composed in early 20th century by Baek Nagjun, a musician from Gang'gyeong in Chungcheong province. It was handed down Bak Seokgi in the early 1930's and then handed down Han Gabdeuk in the latterly 1930's. Han composed new sanjo based on Baek's sanjo from the 1950's to the 1960's. This is named Han Gabdeuk school geomungo sanjo. Analyzed on cadences of Han's sanjo, those make me have the confidences to come to the conclusions, as follows. Firstly, a cadence have two parts : the former part is prepare for cadence and the latter part is cadence. Secondly, prepare for cadence group into melodic and rhythmic style. Thirdly, ujo cadence is used in Jinyangjo and Jajinmori, and gyeomyeonjo cadence is used in all movements. Finaly, typical cadence of gyeomyeonjo originated from cadence of seryoengsan of yeongsanhoisang in geomungo.

For the conducting of No. 1 for Orchestra, the followings should be taken into consideration. First, the conductor should be well versed in the basic principles of conducting technique for the western classical music. Second, the musical characteristics should be understood of No. 1 for Orchestra. The conductor should make an analysis of the key, the unit of meter, tempo and the structure of the composition. More importantly, he is supposed to know how many measures constitute a phrase of melody. This helps him to memorize. While the singer has the whole melodies and words to memorize with meticulous care, the conductor can do his job without recourse to the score, only if he knows, in case of the Korean national anthem, for instance, that it has 4/4 meter and four four-measure phrases with 'f' attached to the beginning of the third phrase. In this way, supposedly complicated composition for orchestra can be made far simpler and easier to conduct. Third, the conductor must have the orchestration within his grasp and also examine each part thoroughly so that he can give a cue to the part or solo that starts after a long absence or put a special emphasis on a predominant melody. All this helps performers play with ease. Fourth, since the music is generally in the style of San-jo and Shinawhi, the conductor might as well express such emotions and moods as are expected of them Fifth, if the conductor wants to emphasize the expression of 'f' or 'p', he should extensively attack the instruments whose volume can be easily modulated, such as Piri, Keun-buk, and Jang-gu. In addition to the above mentioned prerequisites for the successful conducting, the conductor is required to pay attention to the following for the effective rehearsal. The conductor should mark down everything he learned from his analytic reading on the score in his own way. Without these markings on the score, he could not have an overall look at the general features of the whole work or each part. He must make an extra score for himself for rehearsal's sake. In advance of the rehearsal, the exercise of conducting should be carried out fully enough to make wha he analyzed adequately expressed in his conducting. His main performance is his first rehearsal, while other players do their main job in the presence of the audience. If there comes the musical problem during the rehearsal with the orchestra, immediate modification should follow, and after the full exercise of one composition is completed, another full exercise, without any particular reason, is not desirable, since it is little effective and much exhausting. The conductor may miss the part that needs modification during the rehearsal, so what I recommend is the recording of the rehearsal, that can be available for reference for the next rehearsal. All these requirements, if fulfilled, will conduce to the effective conducting, which will, in tum, enable other performers to do their utmost, Then we can expect the performance to properly express the original nature of Kim Heejo's No. 1 for Orchestra.

'Chosun Aak Cheongsu' is composed of thirteen SP discs recorded in 1928. It contains court banquet and ritual music of Chosun Dynasty (1392-1910), including Huimun, Dokgyeong, and Takjeong among Royal Ancestral Shrine Music. It is a valuable source to understand the musical characteristics of the music of the last dynasty. I transcribe and analyze these pieces to compare them with the present music. 'Huimun' in this recording is the same piece as the present Jeonpye-Huimun. The former runs about three minutes while the latter runs about seven minutes. The capacity of the SP made this result. In Dokgyeong and Takjeong, the tone cheong-hwangjong(c") is lowered to the tone muyeok (b♭') and becomes the vibration tone when it appears in front of or in the back of the tone cheong-hyeopjong(e ♭'). This phenomena, resulted from 'the change of the gyemyeon-jo mode', has appeared from the 18th century and is also shown in present music.

Gagok had palyed by Nam Chang (Male Voice) and Yu Chang (Female Voice) is nowadays known singing one text for a piece of music. Gagok had many texts for a piece of music during the later Chosun dynasty but we knew the majority had not transmitted. For a piece of music, many texts came out changing melody (partly changed melody). To aim of this study is the discovery of the principle of changing melody. For it, I would revive the Gagok had missed old texts. So I inguired carefully pertinent musical items in Gagokounryu and Hyupyuldaesung. I fined out the mutual supplement relation of both in neumatic marks. But I hard to compared with those because today-using musics in Gagokbiaksun remained little. Finally I compared neumatic marks with today-using melody in Gagokbaiksun. Through neumatic marks in Gyerak, Urak and Unrak, to sum up it's following. 〈표삽입〉 Following 〈No. 18〉 I discovered the neumatic marks beside text of three musics are a little difference in the 1, 2 chapter that had ever shown. Besides I fined out the following facts. First, through the research of Rak (Gyrak, Urak, Unrak) the basic structure of Gagok is made up of three lines; The three lines are Chosudaeyop, Isudaeyop and Samsudaeyop. The Long is made up Isudaeyop & Samsudaeyop lines. The Rak is made up Chosundaeyop line. Second, The Rak is charaterized in the chodu melody, the arrangement of texts, especially the fourth chapter of Unrak and the final note.

"A Song of Humility (Gyeonggeunjigok)" compiled in The Annals of King Sejo is a musical piece based on the tunes of "A Special Song of Green Mountain (Cheongsan Byeolgok)", a Goryeo song by an unknown author. Consisting of nine stanzas (gok) each of which has twelve lines (haeng), "A Song of Humility" tried to generate new features by introducing several tones to the words of the song. The new tunes are: Daegang 1 (A), 4 and 5 (B) in the first line, Daegang 1 (C) in the third line, Daegang 4 in the fifth line, Daegang 5 (E) in the sixth line and Daegang 4 (F) in the seventh line. These six new tunes are achieved by using tonal sounds. In other words, when a word is of "average tone (pyeongseong)" it is expressed as "Low One (ha-il)" or Palace (gung). By the same token, a word of "high tone (sangseong)" goes up from "High Three (cheongtaejok)" or "High One (namgung)" to "High Two (cheonghwanyong)" whereas a word of "falling tone (geoseong)" or "entering tone (ipseong)" is expressed as "High One (namgung) or "High Two (cheonghwangjong)". However, the tone of "High Three" was only used for the first stanza while for the rest stanzas "High One" and "High Two" is used successively instead of "High Three" tones. Summing up, "A Song of Humility" was able to produce tunes that were different from those of "A Special Song of Green Mountain" by applying the tonal changes of Gasa to specific words in the work, and eventually created a new song that has gone far from the original Goryeo song. That the words where the tonal system was applied were all in Chinese characters means that the work is different from "Invitation of Peace (Chihwapyeong)", a musical piece composed under the reign of King Sejong, that had also used the system At the same time, the application of the tonal system was less strict in this work compared with "Invitation of Peace", revealing that the use of the system was more flexible under the reign of King Sejo than in the days of King Sejong. Artists of the early Joseon Period tried to create a new musical work via giving some changes to an existing piece. As for "A Song of Humility", the means they chose was to use the tonal system for the words in the song. This study of "A Song of Humility" helps have better knowledge of the background of the works as well as the specific means used for the creation of musical pieces in the early Joseon period.

Changdan is one of the essential elements of Korean music, which is used in various kinds of music, from singing, instrumental playing, and to dance accompaniment. The importance of changdan is especially significant in education of Korean traditional music in publics schools, for singing is one of the core activities in those schools. This study has examined types and structures of the changdans, being used as accompaniments of Korean traditional songs, and then developed strategies for utilizing changdans in public school teaching. The results are as follows: Sixteen types of changdans are used in public school music textbooks, including : ChinyangjoㆍChungmoriㆍN?rin-ChungmoriㆍChajin-ChungmoriㆍChungjungmoriㆍKutg?riㆍChajin- Kutg?riㆍChajinmoriㆍN?rin-ChajinmoriㆍTanmoriㆍH?imoriㆍSemach'iㆍT'ary?ngㆍChajin-T'ary?ngㆍrmri ㆍ?-Chungmori. Among these some types are the same except for tempo. Therefore, it can be concluded that total eleven types of changdans are being used in the public school music textbooks. Eleven types of changdans are distinguished by different mixtures of meter, rhythm pattern, tempo, dynamics. These eleven types of changdans can be grouped into five types according to the type of meters which are most significant structural element. Five types of meters are twelve-beat meter, six- beat meter, four-beat meter, three-beat meter, and compound meters. These five types of meters can, again, be divided according to duple meters and triple meters, or be grouped into N?rinㆍP'y? ngㆍChajin according to their tempos, or be grouped according to the presence and positions of accents. Strategies for application of these findings have been developed as follows: The songs in twelve-beat, six-beat, and three-beat meters can be accompanied by Chungmori in duple meters. The six-beat meter can be divided either into duple or triple meters. ?-Chungmori is in duple meter, Chinyangjo in triple meter. ?-Chungmori goes well with 6/4 meter, and Chinyangjo with 18/8. Many Korean traditional song are in four-beat meter, including four types of triple meter including Chungjungmori, Kutg?ri, T'ary?ng, Chajinmori and one of duple meter, That is, four-beat meters can be distinguished according to tempo and position of accents even though these four types use the same time signature of 12/8. Chajinmori is distinguished from other changdans according to tempo. Chungjungmori, Kutg?ri and T'ary?ng are distinguished according to the position of accents. H?imori changdan, often called Tanmori belongs to duple meter, which use the time signature of 4/4, or 2/4. Three-beat meter uses Semach'i changdan in triple meter, which is often with the time signature of 3/4. ?imori is a compound meter, which is a mixture of triple and duple meters. ?imori uses 10/8, but also can use 5/8. The results of this study not only can help public school teachers who teach Korean traditional songs, but also can be used in understanding Korean music in general by providing resources on the concept, basic structure, and relationships of changdan. Furthermore, understanding of basic changdan can be applied to Korean traditional songs of which types changdan are not specified or to teaching of Western style songs with changdan accompaniment. Finally, the results of this study can contribute to understanding of the relationship of rhythmic structures of songs and changdan according to the text. In turn, understanding of this relationship may result in understanding the relationship of lyrics and rhythms of a song. Then, it can be applied to teaching of musical creativity.

Restoration of Music Style(akp'ung panj?ng 樂風反正) was a policy by king Ch?ngjo to restore the music style in a right way. It was different from that of the Restoration of Literary style(munch'e panja? ng 文體反正). Restoration of Music Style was planned to purify the elite bureaucrat who would be the music planners through the strengthening of poetic enlightenment and musical enlightenment, and even refine the music style of court music of which the technique grew more sophisticated and the rhythm became more speedy those days, while the Restoration of Literary style was a political sanction for recovering a pure literary style. The thought of King Ch?ngjo that the literary style reflects the society came from the confucian idea that the literature is an expression of the politics. It corresponds to the case of music. The acquisition of the pure style through the Restoration of Literary style sought for the classical elegance in a prior age. Furthermore, the significance of the Restoration of Music Style includes the precaution of the luxuriant music prevailed in a non-official sphere. King Ch?ngjo implicitly shows his intention to control the music performed in a private space, which revealed a liberal expression of human nature at speedy rhythm.

My major concern on this paper lies on the educational performing methodology of gayageum for the beginners focused on the rightful posture of the performance and the principle of the body movement. To get a result, at first, I had surveyed more than 100 gayageum players to find out if they have earned any specific habits in terms of performing posture and performing while they were receiving gayageum lessons. Secondly, I taped the players' performing posture and analyzed each problem that the players had presented based on their educational experiences. Finally, I discussed several types of teaching methods of gayageum which are useful to performers in understanding the need of rightful performance posture and the principle of the performance mainly based on the teaching method created by Lee, Young-hee, the master of gayageum. Through the research, I discovered that the gayageum players tended to be just imitated the instructors' performance style without any other systematic methods or educational principles. That's why the most of the players have had troubles in having rightful posture and performance, and even more, some people have ever experienced the pain or paralysis of the body. To reduce the current problems that a number of the gayageum players are suffering with, I introduced the Lee, Young-hee's teaching method whose main point was to enhance elimination of the player's useless power and tension on their shoulders, arms and hands. Another features of Lee's teaching method were about the precise and resilient touch by right hand and a stable nong hyeon and keeping balance between the instrument and the posture of the performer's body. To be summarized, I indicated the eight bad habits in posturing and playing the instrument that can often happen to gayageum players who are on the beginning course according to my research result. I attempted to suggest a systematic method composed of the threestages named as "diagnosis- prescription-confirmation" based on the previous works done by Lee, Young-hee and other musical theorists to improve the learner's learning process. I hope my work in which I suggested a detailed gayageum performing method that is useful in eliminating the useless tension and power of the body, will be able to bring a even small help in establishing a fundamental step of the educational performing theory of gayageum.

The study figured out the correlation between the Korean epic shaman song(敍事巫歌) and Mongolian epic song. There is a correlation between the Korean epic shaman song and the Mongolian heroic epic song, tuul. In terms of performer, a shaman performs a Korean shaman song but a specialist, tuul ? performs the mogolian tuul. The tuul'? of Oirad clan in the western Mongolia plays a role of musician and he has an ability of augury as well. In a case of Korean shamans, the person who has received an ability of god is called Gansinmoo(降神巫) while the person who has not received it is called Seseupmoo(世襲巫 ), who could be compared to the mongolian tuul ?. According to the result of analysing musically both of the epic songs, The melodic line of Korean and Mongolian epic songs make monotonous progress within an octave to convey definitely their stories but they pursue a natural change in melodies in a way that the basic melody, which is a main motive is changed and expanded. They decorate and emphasize the beginning and ending of a clause by using Sigimsae(시김새 - a kind of trill) of Toeseong(退聲 - a slight descending figuration from the note) and Chuseong(推聲 - a slight ascending figuration from the note) with a diapason of the major second or the minor third of the key.

Among the wide variety of folk music genres that are performed in the Kyonggi region, this study deals with the musical formative process and background of Bang-a Taryong versions. The outcome of this study revealed that this musical genre originated from weeding and greve-stamping song, Bang-a Taryong of the northwest Kyonggi region, and that the melodic structure of this traditional folk song is a rare example of one that is both robust structure andn rhythmical style at the same time. Regarding the special characteristics of the music of Bang-a Taryong, in depth, thorough-going studies by Kyonggi regional music specialists have revealed what the true characteristics of this musical genre are. That is, in the latter part of the chason period, Kyonggi regional folk musicians made precessional and dance accompaniment music of such characterisitically suitable one as the Kkot Bang-a Taryong of winds and percussions genre in folk festivals such as the bridge-treading play(Tapkyo-non) and religious ceremonies, and around the beginning and middle of the 19th century, itinerant performers such as the sadang-pae re-created musical repetoires largely for entertainment purposes such as (slow)Bang-a Taryong song played, while after the mid-19th century, following that played, a new piece was created in which the tempo was more fast and the melody was more cheerful. This tradition was later transmitted by professional folk ballad singers called San Taryong-pae, and around end of 19th century, this songs were transformed into more refilled and nicely form, what is called a "popular folk song" genre style, which are slow Bang-a Taryong, fast Bang-a Taryong and Kyongbok Taryong of popular folk songs. With the advent of the modem theater at the outset of the 20th century, these newly-created forms were needed on stage by ones who were successor to the previously mentioned performing groups for going into theater successfully, These various genres found in the repetoire of the Kyonggi Bang-a Taryong musicians and the wide range of their creative activities are not only contributed to the progressive assimilation of these genre into traditional music society, but are also of great significance in that they made the existence of kyonggi popular folk music possible today.