National Gugak Center最新文献

{"title":"A Study on Development and Achievement of the Korean Musicology in Japan since 1945","authors":"Jisun Lee","doi":"10.29028/jngc.2023.48.137","DOIUrl":"https://doi.org/10.29028/jngc.2023.48.137","url":null,"abstract":"This article examines the Korean musicology, developed in Japan since 1945, by period and the the results by field. During the Japanese colonial period, Japanese research on Korean music was actively conducted in relation to the ruling policy of the Japanese Government-General of Korea, but after the defeat in World War II, research on Korean music decreased significantly. Therefore, the period from 1945 to 1965 can be called the ‘gap period’ of the Korean musicology in Japan. In the 1970s, as Ethnomusicology grew significantly in Japan, Korean music research was conducted as part of it. Master's and doctoral theses on Korean music were published, related research also surged, and the Goryeoak yeonguhoe (Komagaku Research Society) was established (1976) beginning regular academic exchanges between scholars from the two countries. Therefore, the period from 1966 to the 1970s can be called the growth period of the Korean musicology in Japan. In the 1980s, in-depth research was conducted through long-term fieldwork and study abroad, and the number of studies increased significantly due to academic activities of various generations. Two research books, Song of Arirang and the Study of Sound were published, and six articles on Korean music were included in a collection related to Asian music, strengthening the status of Korean music research in Japan. In addition, high-quality academic exchanges between music scholars from both countries continued by the Komagaku Research Society. Therefore, the 1980s can be called the establishment period of the Korean musicology in Japan. The 1990s was a time when the research field expanded significantly, and research results came out in all fields except court music. In particular, it is noteworthy that research on the history of music during the Joseon Dynasty and modern music began. Although the number of studies has decreased compared to before, in terms of diversity in research, it can be said that the Korean musicology has entered a stable period during this period. In the 2000s, the number of studies decreased even more than before. This is because academic activities were centered around the third-generation researchers. Therefore, this period can be viewed as a stagnation period or period of generational change in the Korean musicology in Japan. It is noteworthy that while there was no articles on folk songs and instruments that had been studied steadily before, modern music history increased dramatically (12 articles) compared to the previous period (1 article). Since 2010, research results have increased significantly, the number of researchers has increased, and the publications in Korean journals (in Korean) have increased, marking a period of significant quantitative and qualitative development in Korean music research. Therefore, this can be called the prosperity period of the Korean musicology in Japan. It has been confirmed that Korean music research has been","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"65 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139307796","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Study on the Lee Gyugyeong's Dialetic Theory of Traditional Music","authors":"Jiwoo Shim","doi":"10.29028/jngc.2023.48.053","DOIUrl":"https://doi.org/10.29028/jngc.2023.48.053","url":null,"abstract":"This study aims to examine the dialectic theory on traditional music in Oju yeonmun jangjeon sago presented by Lee Gyugyeong, an intellectual in the late Joseon Dynasty. It focuses on his approach to the '12-tone theory', the 'length, circumference, and diameter of the hwangjong-pitch pipe', the 'method of using climate and seasons', and 'yuljun' (律準, lit. rule). First, the 12-tone theory was based on the Eastern philosophy proved through the theory of Bang lee Ji, a Chinese Ming scholar. The relationship between yin and yang was an important factor in this theory. In particular, this theory was intended to prove the hwangjong-pitch pipe in the Lüshi Chunqiu, an old Chinese literature. Lee Gyugyeong asserted that it meant the distance between the first-note and the last-note hole of the hwangjong -pitch pipe, and interpreted that seven notes could be produced by opening the hole within the distance one by one. Secondly, regarding the length, circumference, and diameter of the hwangjong -pitch pipe, Lee Gyugyeong emphasized that the circumference and diameter should be obtained through the bottom area and volume of the hwangjong-pitch pipe, and the circumferential ratio of 3.14 should be used. Therefore, it can be assumed that the hwangjong-pitch pipe suggested by Lee Gyugyeong was 3.46 in diameter, 10.86 in circumference, 9 pun (分) in bottom area, and 810 pun in volume. Third, Lee Gyugyeong thought that it was a very practical way to determine a pitch pipe using climate and seasonal factors. In particular, it might have been important for those who made a living in agriculture. Finally, while experiencing yanggeum (hammered dulcimer), Lee Gyugyeong saw that it was appropriate to set the tone based on the string. Therefore, to confirm this, he dialectized the music theory of ancient Chinese scholars and them applied it to music at the time. Therefore, he emphasized that the method of setting tones based on strings should be made based on 12 tones and revealed that geomungo (plucked zither) was used to set tones based on its strings in Joseon Dynasty.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"141 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139308282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Study on Step-by-Step Teaching Plan for \"Pogurak\" Play Activity in the Creative Area through the Integration of Music and Other Subjects: Focusing on the 4th Grade Elementary School Students","authors":"Hyerin Ha, Seonghan Kim","doi":"10.29028/jngc.2023.48.337","DOIUrl":"https://doi.org/10.29028/jngc.2023.48.337","url":null,"abstract":"The newly published 2022 revised music curriculum respects students' emotions and emphasizes their self-direction and creativity to enjoy music on their own. Especially, compared to the 2015 revised music curriculum, it is noteworthy that creationhas been newly added in the music field to guide various creative activities within the music subject. Therefore, it is expected that various creative activities linked to the music curriculum will become more active in schools in the future. This study attempts to present a step-by-step teaching plan for the play activity of Pogurak, through the integrated instruction of music and other subjects, which is a court dance piece covered in the elementary school music textbook. So far, various researches related to the court dance covered in the music textbook have been conducted. However, it is difficult to find research regarding teaching play activity in a classroom setting centering on the creation linked to other subjects. Accordingly, a play method applicable to teaching Pogurak in the creative area was designed for the 4th grade elementary school students, and the corresponding activities and instruction plans were devised. Afterwards, step-by-step creative play activities based on the dance movements used in Pogurak were directly incorporated into the class with the students, and it was confirmed that the students were participating in learning with a more active and positive attitude than when they learned Pogurak as a simple appreciation activity. This study confirms that if play activities linked to Korean traditional music education are effective enough to be used practically in school settings, it can be a medium for students and teachers to easily and familiarly access to Korean traditional music. Through this study, we expect not only to provide educational basic materials that help teachers become interested in Korean traditional music and easily teach it, but to provide meaningful educational experiences to students, helping them enjoy Korean traditional music in their daily lives and establish a proper understanding and identity of our Korea culture.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"193 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139307974","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Instructions for the Creative Activity of 'Making Class Bell' Using Traditional Korean Instrument Tones from the National Gugak Center's Gugak Digital Source","authors":"Youngsun Jeong","doi":"10.29028/jngc.2023.48.249","DOIUrl":"https://doi.org/10.29028/jngc.2023.48.249","url":null,"abstract":"This study devises a method for instructing the creative activity of 'Making Class Bells' using the tone of Korean traditional instruments from the gugak (Korean traditional music) digital sound source provided by the National Gugak Center. First, as a result of reviewing the aspects of gugak creation content included in the 2015 revised middle school music textbook, there were no creative activities utilizing the tones of gugak instruments. Based on the reviewed contents, an instruction plan of the creative activity using the tone of gugak instruments consists of four steps: the step of exploring gugak instruments, the step of distinguishing the tones of gugak instruments, the step of utilizing the tones of gugak instruments, and the step of submitting what they created. Following these steps, the creative activity of 'Making Class Bell', made up of eight classes, was applied to the first-year middle school students in Seocho-gu, Seoul. The first result is that students were able to experience the tone of gugak instruments and further the harmony of sound. Second, they were able to practice gugak in their life. Third, this activity shows that the gugak creative education using digital media can become active. Fourth, they can enjoy various gugak instruments. Fifth, they can develop their creativity through the composition activity.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139309321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Study on Choseong of Sogak in Akhakgwebeom","authors":"Sukhui Yi","doi":"10.29028/jngc.2023.48.103","DOIUrl":"https://doi.org/10.29028/jngc.2023.48.103","url":null,"abstract":"This paper examines choseong (lit. the first note; used as the lowest note) of sogak , which refers to hyangak (indigenous Korean court music), recorded in Akhakgwebeom (a book on music compiling royal protocols and music scores in Joseon Dynasty) focusing on sanhyeong (explanatory diagrams illustrating the relation of pitch and where to play) of the two instruments, geomungo and daegeum. It aims to correctly establish the theory of sogak in Akhakgwebeom. The proposition of “the choseong of sogak is hyeopjong ” in Akhakgwaebeom is based on the Chinese sogak theory and it refers to the lowest sound in sogak chilji (seven keys of sogak ). It is believed that choseong of sogak is determined by jeongseong (正聲), a tone that indicates the first note in a melodic mode, in the notation system oeumyakbo . The jeongseong of oeumyakbo was divided into two types: the sejosillok type expressed in gung (as in oeumyakbo ) and the akhakgwaebeom type expressed in ha 5. In the geomungo sanhyeong , the jeongseong of all ilji (hyeopjong, goseon) , iji (jungnyeo, yubin) , saji (ichik, namnyeo) , and chilji (daeryeo, taeju) was expressed as gung . Since ha 3 was the lowest note in the sanhyeong of ilji and iji , however, ha 5 could not be the jeongseong of the oeumyakbo . The tuning of geomungo heohyeon (sound of playing open strings) is also a major criterion for determining the jeongseong of oeumyakbo , but since in the melodic mode naksijo and ujo it is set in gung and ha 5, respectively, they did not match each other. Based on the relationship between the sogak chilji of geomungo sanhyeong and the jeongseong , the choseong of sogak appeared to be hyeopjong (夾). In the daegeum sanhyeong of Akhakgwebeom, all sogak chilji are presented, but there was a problem that the oeumyakbo system applied to sogak chilji is inconsistent. Furthermore, in the case of yukji (hwangjong ) and chilji , when the jeongseong of oeumyakbo is gung, there was a problem that the range necessary for the establishment of a melodic mode could not be secured. Due to these problems, it is thought that the jeongseong of oeumyakbo applied to yukji and chilji should be ha 5. Therefore, the jeongseong in the daegeum sanhyeong is ha 5, and thus, the choseong of sogak appeared to be hwangjong (黃) based on the jeongseong of oeumyakbo , or ha 5. As mentioned above, the jeongseong of oeumyakbo was divided into two forms: gung and ha 5. Because the jeongseong of oeumyakbo was applied differently depending on the musical instrument, the choseong of sogak appeared in two types, hyeopjong and hwangjong . This phenomenon is not only a problem with the sogak chilji and the oeumyakbo system itself, but also a problem in that the characteristics of the range of each instrument and the relationship between the sogak chilji and the oeumyakbo are not properly established.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139307988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Current Status and Prospects of the Research on Pyeonjong and Pyeongyeong in South Korea and China","authors":"Rong Liu, Yongguang Hao, Chunwein Yang","doi":"10.29028/jngc.2023.48.073","DOIUrl":"https://doi.org/10.29028/jngc.2023.48.073","url":null,"abstract":"Confucian ritual music culture in East Asia can be traced back to Xia Dynasty and developed into a standardized ritual music system in the Zhou Dynasty. The 'JIn Shi Zhi Yue (Music of metal and stone)' in the Confucian ritual music tradition is mainly composed of pyeonjong (a set of bells; bianzhong in Chinese) and pyeon'gyeong (a set of L-shaped stone chimes; bianqing in Chinese). The earliest research on pyeonjong in China was the article 'Golden Chime Bells' published by Cui Yutang in 1958. After that, a series of researches examining rhythmic systems, acoustic characteristics, inscriptions, materials and rehabilitation of pyeonjong were published. However, the study of pyeongyeong was relatively late compared to that of pyeonjong. The earliest study about pyeongyeong was published in 1972; it was the article 'The Painted Stone Chimes of Chu State Discovered in Jiangling, Hubei Province and Related Issues' by the Hubei Provincial Museum. The subsequent researches of pyeongyeong mainly focused on inscriptions, rhythmic systems, materials, reproduction and acoustic characteristics. In South Korea, Jang Sahun was the first scholar who conducted the research specialized in this field. The subsequent researches in South Korea mainly focused on the production, materials, rhythmic systems, acoustic characteristics, inscriptions, and restoration of pyeongyeong and pyeonjong. Although the academic histories of pyeongyeong and pyeonjong in both countries have some similarities in research objects and problem awareness, they also have their own characteristics in terms of the focus, emphasis, scope, and interest of the research. As the representative musical instruments of Confucian ritual music culture, pyeongyeong and pyeonjong need to explore their multiple possibilities not only in the field of academic research, but also in current musical practice.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139306419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Study on the Performance Space Characteristics and Actual Conditions of Gugak Performance Halls","authors":"Minkyeong Jung","doi":"10.29028/jngc.2023.48.215","DOIUrl":"https://doi.org/10.29028/jngc.2023.48.215","url":null,"abstract":"This study intends to lay the foundation for reviewing and discussing appropriate type of performance hall through a survey on the current status of gugak (Korean traditional music) performance halls. Furthermore, it aims to promote the development of gugak performances by establishing a performance environment where gugak performances can be enjoyed close to their original form. It analyzes the form of five gugak centers--National Gugak Center, National Folk Gugak Center, National Namdo Gugak Center, Busan National Gugak Center, and Seoul Donhwamun Gugak Center--which are currently operating as major gugak venues. The results of this study are as follows. First, most of the existing stages of gugak performance halls are in the form of prosinium. The reason is that it is generally the most commonly used form in concert halls, and it can be assumed that it was influenced by the form of Western concert halls. Second, based on the two-dimensional shape in which chairs are arranged, the most common types of seats in the gugak performance halls are horseshoe-shaped and shoebox-shaped. The reason why these appear most frequently is because, firstly, they are the most commonly used forms among performance halls, and secondly, it is presumed that they are the most effective forms when conveying the voice of the performer or considering acoustic characteristics. Third, unlike the Western stage, the contact and distance between the performer and the audience is very important for audience participation in gugak performance. In most types, it should be considered that the relationship between the viewer and the player is dynamically and three-dimensionally combined, rather than distinguishing between them. Fourth, the size of the stage and audience, the two-dimensional viewing angle, and the viewing distance vary depending on the type of performance. Therefore, it is necessary to specify the type of performance according to the performance hall or to suggest a performance hall that can be used variably. Fifth, considering the tendency of the latest performances, such many performances as instrumental music and pansori have been performed in small-scale performance halls. It can be inferred why the recently opened gugak concert halls such as Pungnyu Sarangbang and Donhawmun Gugakdang Hall are in small-scale. Sixth, there are three types of outdoor gugak performance halls: a circular shape like the Moonlight Yard of the Namdo Gugak Center, a long rectangular shape like the Starlight Yard of the Namdo Gugak Center, and a semicircular shape like the outdoor yard of the Busan Gugak Center.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"35 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139308882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Research on Gugak Class Design for Lifelong Education managed Remotely and Face-to-Face: Focusing on the Student Survey of the Korea National Open University","authors":"Yoonhee Chang","doi":"10.29028/jngc.2023.48.193","DOIUrl":"https://doi.org/10.29028/jngc.2023.48.193","url":null,"abstract":"This research offers a gugak class plan designed for teaching gugak (Korean traditional music) in a higher level of lifelong education linking remote and face-to-face classes. By examining educational goal and the request of both the program provider and the middle-aged and elderly student group, this study aims to scrutinize conceptional expansion of gugak education, and to suggest theoretical ground with a concrete example that can elevate the quality of lifelong education. The gugak class, as a part of college liberal arts program, is designed to raise a culturally creative person and to help them understand rapidly changing contemporary society. It is supposed to provide students with some aspects of sentimental relief, social interaction, and access to musical practice. Students are expected to listen to gugak from a critical perspective on the basis of understanding its aesthetic values. All the class works as well as academic discussions are planned to deal with contemporary social issues in relation to gugak. Along with the knowledge, the gugak class should be able to guide the students with how to take advantage of gugak infrastructure, such as local concert venues and free performances, so the middle-aged and elderly students, by themselves, can enjoy and understand the music for the rest of their life, not to mention the inspiration for further academic or professional challenge.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"40 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139309116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Study on the Relationship between Kim Dongmin's Family and the Situation before and after the Opening of the National Gugak Center during the Korean War","authors":"Yulhee Kim","doi":"10.29028/jngc.2023.48.009","DOIUrl":"https://doi.org/10.29028/jngc.2023.48.009","url":null,"abstract":"This study examines the history of the National Gugak Center, which opened in Busan, the temporary capital during the Korean War. Due to a lack of historical records in this period, it analyzes the oral records about Kim Dongmin, who provided a temporary office for Guwanggung aakbu (舊王宮雅樂部) for about three months right after evacuation, to establish the influence of the Kim Dongmin's family that affected the birth of the National Gugak Center. The oral materials of Kim Dongmin and Son Jaesook, which serve as the basic material for this study, were recorded by the folk music scholar Lee Bohyeong in 1991. They show in detail the relationship between Kim Dongmin and the early days of the National Gugak Center. Based on them, this study summarizes the circumstance at that time by reviewing Kim Cheonheung's book, the National Gugak Center's 50th and 70th anniversary collections, and newspaper articles. Then, an oral interview was conducted with Kim Dongmin's eldest daughter, Kim Ongyeong, to cross-verify the facts. The results of this study are as follows. First, the National Gugak Center was provided with a temporary office at Kim Dongmin's house at 6 Toseong-dong 3ga, Seo-gu, Busan, from the end of December 1950 until its official opening in April 1951. Second, after the opening of the National Gugak Center, the first dance class for beginners was held by Kim Dongmin's Folk Dance Research Institute. Third, in 1952, when Busan's first dance play, Chunhyangjeon, was performed on 'the 1st Folk Dance Presentation', the musicians of the National Gugak Center, including Sung Kyungrin and Kim Chunheung, were in charge of the commentary and accompaniment. This fact played an important role in the birth of the National Gugak Center, and can be seen to be due to the passion and support of Kim Dongmin, a lover of Korean traditional music and instigator of the Korean traditional music enlightenment movement. In summary, Kim Dongmin greatly influenced the development of the National Gugak Center in Busan by providing a place for dance lessons and holding collaborative performances. This study is meaningful in that it newly established the situation before and after the opening of the National Gugak Center, which has not been well known so far, and shed new light on its historical significance.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"65 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139307819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Study on the Clothing of the Court Dance \"Seonyurak\" in the Late Joseon Period","authors":"Yunhee Choi, Eunjoo Lee","doi":"10.29028/jngc.2023.48.305","DOIUrl":"https://doi.org/10.29028/jngc.2023.48.305","url":null,"abstract":"This study examines the type, change, and characteristics of Seonyurak (船遊樂) dancers' clothing, based on 12 kinds of uigwe (royal protocols) that recorded Seonyurak performances. Seonyurak, which used to be handed down as gyobang jeongjae (courtesan's dance) in local areas, was introduced into the court due to the seonsanggi system after Injo’s Rebellion (仁祖反正). As a local performance presented to government officials, who were going abroad as envoys, became performed in the royal court, the venue, name, and performance content and method of Seonyurak were changed. The first performance of Seonyurak was recorded in Wonhaeng eulmyo jeongri uigwe (園幸乙卯整理儀軌) in 1795, and it was adopted as an official court dance in Gichuk jinchan uigwe (己丑進饌儀軌) in 1829. The clothing of jipsa, assistants, has been recorded since Gichuk jinchan uigwe (1829) while that of donggi, young female dancers, has been recorded since Musin jinchan uigwe (戊申進饌儀軌, 1849). Therefore, the clothing of Seonyurak performers was settled in 1849, and it was passed down until 1902, which was the period of the Empire of Korea. It is possible that Seonyurak performed in 1795 was in a similar form to Baettaragi (排打羅其), another courtesan's dance performed in the northwestern region, since its performance venue was in Hwaseong, not the palace. Among them, it can be seen that donggi in chaeseon, a boat located in the center of Seonyurak performance, served as sogyo (a position of military officer) of Baettaragi, which was confirmed by Bongsudang jinchando (奉壽堂進饌圖). However, donggi performed in Baettaragi wore red cheollik, the uniform of danghagwan (officials of the lower terrace), while those in Seonyurak wore navy cheollik, the uniform of dangsanggwan (officials of the upper terrace). Later, since Gichuk jinchan uigue (1829), donggi playing the role of sogyo was changed into jipno, and the role of donggi was played by jipsa. The clothing of Seonyurak jipsa was a military uniform of danghagwan, which was worn by donggi in Bongsudang jinchando (1795) and lasted in the last banquet in 1902. Seonyurak jipsa had worn a military uniform as a support garment for cheollik since Imjin jinchan (1889) until Imin jinyeon (1902). Before that, it is presumed that they wore a green daechangui as a support garment for cheollik. As for the clothing of Seonyurak jipno, donggi wore a red danui (丹衣), the uniform of the Yeonhwadae dance, in Gichuk jinchan uigwe (1829), and later on they wore green dangui (唐衣) since Musin jinchan uigwe (1848) until the last banquet of the Empire of Korea. It is confirmed that they wore a red skirt and green dangui in Imin jinyeondo (1902). Donggi wore a red skirt and a yellow top in Musin jinchando (戊申進饌圖), Jeongjae jinchando (丁亥進饌圖), and Sinchuk jinchando (辛丑進饌圖) whereas they wore a green dangui only in Imin jinyeondo (壬寅進宴圖). Stand-by dancers of Seonyurak wore the basic clothing of court dance performed by yeoryeong (female entertainers).","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139307012","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}