National Gugak Center最新文献

{"title":"A Study on the Characteristic Analysis of Haegeum Vibrato Based on Monotones","authors":"Heesuk Pang","doi":"10.29028/jngc.2023.48.037","DOIUrl":"https://doi.org/10.29028/jngc.2023.48.037","url":null,"abstract":"Vibrato, called nonghyeon or nongeum , is one of the typical performance techniques frequently used in gugak (Korean traditional music). There have been studies that analyzed the characteristics of vibrato of vocal and wind instruments in the field of gugak . However, there are not many studies that objectively analyzed the characteristics of vibrato of haegeum, one of the representative Korean traditional string instruments. This study examines the characteristics of haegeum vibrato, using strong, medium, and soft monotones of haegeum from the digital sound sources provided by the National Gugak Center. It analyzes 42 haegeum monotones specifically in terms of intonation, vibrato rate, and vibrato extent. As a result, the vibrato speed in haegeum is around 4 Hz (four times per second), which is generally lower than that in Western music. The vibrato extent ranges from 60 cents to 153 cents on average per note, which covers a somewhat larger range compared to that in Western music. In addition, there are some discussions regarding the tendency for the vibrato rate to increase, which appeared at the end of some vibratos, and the results of the vibrato extent according to strong, medium, and soft playing in monotones. This study is significant in that it has provided basic data on the characteristics of the haegeum vibrato, but also has a limitation of analyzing only monotones played by a single performer. It is hoped that future research will be conducted to analyze the characteristics of haegeum vibrato on various pieces performed by multiple performers.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139308080","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":"Comparative Analysis of Musical Characteristics of Gyeongje Beompae \"Bokcheongge\" by Branch","authors":"Hyoungsuk Cha","doi":"10.29028/jngc.2023.48.281","DOIUrl":"https://doi.org/10.29028/jngc.2023.48.281","url":null,"abstract":"Baggatchaebi-sori and anchaebi-sori in beompae (Buddhist chant) have been considered as having extremely different musical characteristics. However, as a result of taking a look at the hotsori Bokcheongge as the baggatchaebi-sori and the getakseong Bokcheongge as the anchaebi-sori , substantially similar musical characteristics have been discovered. In addition, the distinguishable musical characteristics have been found out in them. Based on the analysis results, the commonality and distinction can be summarized as follows. In the hotsori Bokcheongge and the getakseong Bokcheongge, common characteristics are observed in the musical elements including tempo and meter, text setting, range, musical structure, kkeukneun-mok (decorative sound) between re'-do', yoseong (vibrating sound), the use of ‘main melody types' (Type A~C), cadence, and tori (melodic mode reflecting the locality). There is somewhat difference in the way of utilizing 'main melody types', but it can be said that it is common that both utilize the ‘main melody types’. Meanwhile, the distinguishable musical characteristics of the hotsori Bokcheongge and getakseong Bokcheongge is that the scale of the hotsori is composed of mi, sol, la, do', re', mi', fa' and sol' while that of the getakseong does not include fa'. This phenomenon is caused by partial transposition that occurred due to the expansion of the vocal range. Since the decorative sound (kkeukneun-mok) between re'-do' becomes sol'-fa' when it is changed to a perfect 4th above, fa' appears as a constituent sound in the hotsori Bokcheongge. On the other hand, in the getakseong Bokcheongge, the vocal range is expanded, but it does not lead to transposition and thus fa' does not appear. The text setting in several ways of making lyrics is the same in both, but two verses of the getakseong are characterized by syllabic setting (one note per syllable). In addition, the jachulineun-sori (singing technique with gradually lowering the melody) is used in hotsori while it is omitted in the getakseong .","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"215 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139308102","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 Examples of Pronouncing a Single Vowel \"Gi\" as a Diphthong \"Gui\" in the Jongmyo Jeryeak's Akjang","authors":"Juin-Ying Lee","doi":"10.29028/jngc.2023.47.417","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.417","url":null,"abstract":"In many cases of traditional vocal genres, the lyrics are sung in the way of pronouncing all the vowels and consonants composed of one syllable in a distinguishable way. When akjang (song lyrics in the form of a poem) of the jongmyo jeryeak (court music performed in the rites for royal ancestors) is sung, however, there is a tendency not to disjoint single vowels of a diphthong and final consonants of particular voiced consonants. This is speculated to be because the lyrics have a great meaning since they directly praise the virtues of the king. However, 'gi ' used in the lyrics of the jongmyo jeryeak 's akjang is sung as a single vowel 'gi ' or a diphthong 'gui ' depending on the case. It is not depending on Chinese characters, but is pronounced in two ways even if the same Chinese character is used. As a result of interpreting the meaning of the jongmyo jeryeak's akjang based on the Chinese dictionary Jeonun okpyeon in which diphthongs are written, four Chinese characters (其, 基, 幾, 機) to be corrected were found among eight Chinese characters of 'gi ' appeared 21 times in the lyrics of the akjang . When singing the Chinese lyrics 'gi' of the jongmyo jeryeak's akjang, correctly pronouncing as a single vowel 'gi ' or a diphthong 'gui' depending on the meaning would be the right way to inherit the tradition.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124904595","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 Han Seong-ki's Gayageum Byeongchang \"Eohwa Cheongchun\"","authors":"Eunjoo Shin, Juhee Yang","doi":"10.29028/jngc.2023.47.299","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.299","url":null,"abstract":"Han Seongki (1889~1950), born from Yeong'am, Jeolla Province, was a musician proficient in gayageum (12-string plucked zither) sanjo (solo instrumental music) and byeongchang (singing with playing an instrument) in the first half of the 20th century. He learned sanjo and byeongchang from Kim Changjo and then passed them on to Choi Oksan and Kim Jukpa. His music, mainly gayageum sanjo and byeongchang , remained through the records of the first half of the 20th century; the repertoire of gayageum byeongchang includes a variety of music such as dan'ga (lit. short song sung before performing pansori), pansori (musical storytelling), japga (folk songs sung by professionals), and minyo (folk songs sung by the general public). While the studies on his sanjo have been relatively active, there are a few studies on his byeongchang. Yet, since these studies have not considered his sanjo and byeongchang together, there are some limitation that they do not properly illuminate Han Seong-gi's unique musicality from the perspective that he was well versed in gayageum and sori (vocal). This paper focuses on the piece of gayageum byeongchang 'Eohwa Cheongchun' among the music he left behind. \u0000Han Seongki's dan'ga 'Eohwa Cheongchun' has been released as a record three times and, according to the records from Gyeongseong Broadcasting Station, it was one of Han Seong-ki's main repertoires. In particular, it is speculated that 'Gongdobaekbal', 'Gongdonan', and 'Baekbalga' sung by Han Seongki are related to 'Eohwa Cheongchun' in that they share the similar lyrics. \u0000'Chieron38 Eohwa Cheongchun' and 'CoreaH7 Eohwa Cheongchun' recorded in 1932 and 1935, respectively, are made up of almost the same lyrics, but the beginning of 'CoreaH7 Eohwa Cheongchun' adds the phrase starting with 'Gongdorani baekbaliyo... '. After that, the lyrics following after 'Eohwa cheongchun...' proceed in the same way on both albums, which is a structure in which the lyrics used in any dan'ga are appropriately included and independent lyrics are placed in between. This shows the spontaneous and free reconstruction of dan'ga at the time. In addition, it is presumed that it was reconstructed by Han Seongki in that a unit song with the same composition as Han Seongki's 'Eohwa Cheongchun' has not been found among those materials recorded at that time and dan'ga pieces passed down today. \u0000'CoreaH7 Eohwa Cheongchun' is unique in that the length recorded for the entire album is about 3 minutes and 30 seconds and about 1 minute at the beginning is only a gayageum performance. This gayageum part plays the same role as the daseureum (prelude) of sanjo , comparing to the version of Han Seongki's among the daseureum of Kim Juk-pa’s gayageum sanjo. In 'Chieron38 Eohwa Cheongchun,' the gayageum melody at the beginning is short, about 11 seconds, and instead, the gayageum melody of about 22 seconds is added in the form of a postlude. The aspects in the two records appear different, but the records of 'Eohwa Che","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121190523","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 Selection Background and the Performance Historical Status of Chunhyangjeon Performed by Geukyesul yeonguhoe","authors":"Namseok Kim","doi":"10.29028/jngc.2023.47.077","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.077","url":null,"abstract":"Geukyesul yeonguhoe (lit. theater art research society) performed Chunhyangjeon (The Story of Chunhyang ) on September 29-30, 1936. This performance was the 12th regular performance of the Geukyesul yeonguhoe, in which Hamlet was initially scheduled to perform as the 5th anniversary project. After experiencing the quitting of its members in June 1936, However, the Geukyesul yeonguhoe was in a crisis, and the performance of Hamlet was canceled. It did not give an official reason for the cancellation of the Hamlet performance, but the traces of suffering from the pressure to select a masterpiece to replace Hamlet were confirmed. As a result, it worked on performing Chunhyangjeon , which was unexpected at the time, and this performance made the position of the Geukyesul yeonguhoe as the leader in the modern theater field changed greatly. Through the performance of Chunhyangjeon, the Geukyesul yeonguhoe accepted the performance pattern that popular theater companies used as a commercial repertoire, and publicly announced their will not to reject this trend. The performance of Chunhyangjeon made the Geukyesul yeonguhoe officially acknowledge that they gained audiences and saw the possibility of profitable management but lost one of its distinguishing points from existing popular theater companies and ultimately began to focus on the operation of an audience-friendly theater company and the selection of works that were highly popular with the public. Therefore, Chunhyangjeon can be considered a representative play that illustrates the change and career change of the Geukyesul yeonguhoe in 1936.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129344679","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":"The Educational Utilization Plan for the ‘Gugak Dictionary’ of the National Gugak Center - Focusing on Instrument Items -","authors":"Jangwon Lee","doi":"10.29028/jngc.2023.47.393","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.393","url":null,"abstract":"This study discusses the educational utilization plan for the Gugak Dictionary of the National Gugak Center. This dictionary, which had been publicly released when 2022 revised curriculum empathizing digital and AI education was publicly announced and the establishment of educational materials for future education was urgent, could be a good learning material for gugak (Korean traditional music) education. Unlike the existing online dictionaries that are text-oriented, it offers the wide and systemic data including images, music sources, and videos to be very useful for gugak education. Moreover, 3D instruments introduced for the first time can be used as the efficient teaching materials to understand the structure of instruments and the names of parts and to explore timbre. Hence, this study, excluding the compilation item of the Dictionary working in progress, prepares the learning design process centered on pyeon'gyeong among the instrument items. \u0000The learning design process offered in this study can be applied in teaching 51 instruments listed in the Dictionary and can be linked with other subjects. It is hoped that the Gugak Dictionary can lead the spread of gugak and contribute the vitalization of the gugak education by establishing more diverse materials and contents.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127782090","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":"Crossover between Jazz and Korean Traditional Music within the Ideological Context of \"Expansion of Tradition\"","authors":"Jonghyun Park","doi":"10.29028/jngc.2023.47.057","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.057","url":null,"abstract":"Since the late 20th century, plenty of collaborative works among Korean traditional musicians and jazz performers have emerged in the realm of “changjak gugak (lit. creative national music).” In 2020s, within the scene of traditional music-based crossover works, “elite” jazz musicians’ active participation and the use of musical elements of jazz music have become more and more visible. \u0000During the same period, the discourses of “expansion,” “popularization,” and/or “modernization” of tradition has constantly circulated and consumed as a bundle of “spirit of the times.” Those discourses became intertwined together and thereby produced and reproduced two differentiated ideological time-spaces of “gugak musicians and listeners-premodern era-oldness-Korean (traditional) culture/music” and “the public(laymen)-modern times-newness-Western culture/music.” Because of these ideological frames, a variety of new gugak-jazz works constructed by a set of conventionalized and oft-outdated jazz performance skills and composing styles are often automatically categorized as examples of “musical expansion/modernization/ popularization” of traditional music that offer new kinds of experience, Many of those gugak-jazz crossover works which are totally not new in terms of artistic device are represented as new things “inertially” due to this existence of state-driven ideological discourses that semiotically connect the Western music to newness, which result in the crossover musicians’ benefit from the gugak-related financial aid programs offered by the state. Those discourses often ideologically dominate traditional music performers and related participants, thus the established style of gugak pieces with jazz-related elements are introduced as a “new expansion” of traditional music by musicians themselves as well as gugak-related mass media. This paper critically argues that such discursive convention that often unfairly elevates all kinds of gugak-jazz crossover works should be reconsidered and productively deconstructed for better understanding and critic of crossover gugak works.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132185569","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 for the Creative Succession of Mask Dance Movements - Focusing on the Dismantling and Reorganization of Basic Dance Movements -","authors":"I. Park, Jihoon Kim, Byeong-Su No, Juwon Lee, Jingyu Jang","doi":"10.29028/jngc.2023.47.221","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.221","url":null,"abstract":"This paper was initiated to find a way in which one can freely express movements of mask dance, which had been fixed since it was designated as the cultural heritage. To this end, it focused on the way of performing in nongak (percussion ensemble music)--the movements of performers are relatively free even after being designated as a national intangible cultural heritage--in order to apply it to mask dance. \u0000First, this study selected Goseong ogwangdae, Yangju byeolsandae nori , and Gangnyeong talchum, which have relatively many dance movements among the basic dance of mask dance designated as national intangible cultural heritages. \u0000Then, by analyzing the movements of basic dance in each region, it dismantled them by dividing them into upper and lower body parts just like the way of performing in nongak , and combined those dismantled movements of the three regions in various angles. In this process, it confirmed that each movement was classified based on beat, and classified and organized the dismantled movements as 'one-beat movement', 'two-beat movement', 'four-beat movement', or 'fixed movement' according to the beat. It also confirmed that the combination of the upper and lower body movements was made based on beat. Lastly, utilizing the results, this study created new dance movements by reorganizing the upper and lower body movements of mask dances in the three regions from various angles, and produced and presented a performance type of basic dance. \u0000Through this process, this study confirmed that mask dance performances can be produced through dismantling and recombining, just like nongak. As the process of combining the dismantled dance movements gradually became familiar, it became possible to combine them in accordance to detailed subdivided beats. In addition, it was possible to design systematic education by producing the movements of mask dance according to the level of the students. It is hoped that the results of this study will be shared with more performers, leading to systematic classes and creative work using them.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121962464","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":"Reconsideration on the Formation and Function of Eumseongseo Given the Article on Ureuk","authors":"T. Yun","doi":"10.29028/jngc.2023.47.369","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.369","url":null,"abstract":"According to the article on Ureuk (于勒) recorded in 'Akji' (樂志, music section) of Samguksagi (三國史記), there is the statement that King Gasil (嘉室王) had invented gayageum (plucked zither) after seeing musical instruments of ‘Tang (唐).’ It is clear that this statement could only appear after 618 when the Tang Dynasty was founded. Moreover, it is after September 644 that Silla's hyeon (prefecture) can be placed in Seongyeol-hyeon, which is the hometown of Ureuk. Since the name of Seongyeol-hyeon does not appear in the 'Jiriji' of the Samguksagi, it seems that the place name of Seongyeol-hyeon was used before 685 when the basic town name of the 'Jiriji' of the Samguksagi was decided. From the perspective of organizing music-related literature, if the writing of this document is regarded as Eumseongseo (音聲署), it seems that the birth of this record is related to 651, the point at which it was officially said that daesa (大舍) was placed in Eumseongseo. \u0000In that article, it is also found that gyego (階古) and juji (注知) were recorded as daenama (大奈麻, the 10th grade in the 17-grade system of Silla) while mandeok (萬德) as daesa (12th grade). However, in that mandeok 's official position corresponds to daesa of the Eumseongseo and a structure in which two superiors are located at the top can be found, it is believed that the prototype of the organization Eumseongseo was found even around the 550s, which is almost 100 years from 651. What had changed around 651 was that Silla music was documented, historicized, and systematized, judging from the point at which it was presumed that an article related to Ureuk in 'Akji' was written, as inferred earlier. \u0000In addition, paying attention to the fact that there are at least two people at the top of daesa , it is inferred the situation when the minister of Eumseongseo was jang (長) before being reorganized into gyeong (卿) in 687. In this regard, attention was paid to Seongcheon (星川), who appeared in 664. Considering the context of the narrative in which this character appears, Seongcheon is considered to be a character corresponding to daenama and has something in common with the cases of gyego and juji . Considering that the official position of gyeong in Eumseongseo corresponds to geupchan (級飡, 9th grade) to achan (阿飡, 6th grade), it is thought to give a clue that this is reorganized from jang to gyeong , and the position of the official has risen. It is believed to thank to the process of documentation, historicization, and systematization mentioned above. Therefore, gyeong of Eumseongseo, which was initially promoted thanks to the temporary expansion of music-related business, was able to maintain its prestige not only in the short term but also in the long term, thanks to such historical trends.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115303567","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":"The Performance Characteristics and Cultural Significance of “Nondeureongbatdeureong” Pungmul in Gongju Region","authors":"Jeong-Wook Lee","doi":"10.29028/jngc.2023.47.035","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.035","url":null,"abstract":"This paper examines the activities of the traditional performing arts group “Nondureongbatdureong” in the Gongju region, focusing on the reenactment nature of village pungmul music and the changing paths of its transmission within the cultural heritage of the region. In pre-modern society, pungmul was transmitted primarily through specialized performing groups and villages known as “Durepungjang.” However, with the dissolution of Dure, village pungmul-gut gradually lost its transmission power. Pungmul of specialized performing groups, centered around Ttunssoe, can be seen as having established its lineage and achieved “branding” through the intangible cultural heritage system. Among village pungmul-gut, those selected as intangible cultural heritage has formed another brand centered around preservation societies. As a result, this particular branded pungmul has established itself as a distinct brand and secured its transmission power through various preservation and hobbyist associations, primarily located in urban areas. \u0000The traditional performing arts group “Nondeureongbatdeureong,” established in 2006, operates at the intersection between branded pungmul and village pungmul. \u0000Based in the Gongju region of Chungcheongnam-do, the group engages in performances rooted in Dure Pungjanggarak. The majority of its members are elderly individuals aged 60 and above. It aims to represent a “traditional performing arts group” by reenacting the folk culture and heritage passed down in the Gongju region. \u0000The activities of Nondeureongbatdeureong can be categorized into performance activities and transmission activities. In their performance activities, they focus on showcasing village pungmul , but they go beyond simply reenacting Village Pungjanggarak. They also intend to convey the intrinsic value that village pungmul holds. As for their transmission activities, they consistently engage in educational activities by visiting local elementary schools. The purpose of Nondeureongbatdeureong is not to cultivate new artists through elementary school education but rather to expose local elementary students to the village pungmul of their region, even if it is just once. These performance and transmission activities embody the founding purpose of Nondeureongbatdeureong, which is to pursue the concept of “Nosodongrak (enjoyment of all ages together)” as stated in their mission statement. \u0000This paper examines the activities of Nondeureongbatdeureong within the context of the transmission patterns of pungmul culture in the Gongju region. It holds significance as it provides a condensed representation of the broader transmission patterns of Korean pungmul. Through the activities of Nondeureongbatdeureong , it aims to explore new directions in the transmission patterns of pungmul culture.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"217 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122831609","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}