National Gugak Center最新文献

{"title":"The National Folk Art Center and the North Korean National Music","authors":"Ihn-gyo Bae","doi":"10.29028/jngc.2023.47.275","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.275","url":null,"abstract":"This article aims to enhance understanding of the National Folk Art Center (hereafter, the Center) through dividing its 75-year history and activities into three periods, and to review the trend of changes in North Korean national music, From 1947 to 1965, the Center had been reorganized as the Joseon Classical Music Research Institute, the Classical Orchestra directly under the Ministry of Culture and Propaganda, the Hyeopryuldan within the National Arts Theater, the Classical Orchestra under the direct control of the National Arts Theater, the National Classical Arts Theater, and then National Folk Arts Theater. During this period, traditional music capabilities such as changgeuk (Korean opera derived from pansori) and instrumental performances of Korean traditional musician who crossed the border to North Korea had a great impact on the North Korean music scene. \u0000From 1965 to 1992, the Center had been renamed as the National Folk Opera Theater, the Pyongyang Art Organization, the Moranbong Art Organization, and then the Pyongyang Art Organization; the content of activities had changed. At this time, the pibada ('Sea of Blood') style of national opera was established, and the comprehensive music and dance performances were vitalized while many folk dance and national dance works were created. \u0000Since 1992, when the Center worked as a National Folk Art Center, it has created and performed works such as national operas, folk dance suites, and national songs and dances. Since the 2000s, the Center focused on creating large-scale art performances together collaborating with various music organizations, rather than solo performances. After the Kim Jong Un era, the Center has been pursuing activities as an independent organization. \u0000Through the activities from the Joseon Classical Music Research Institute to the National Folk Art Center, we can get a glimpse of the way in which the modern transformations of national music were realized in North Korea, and confirm that the activities of those who crossed the border to North Korea were at the base. The activities and roles they played in North Korea serve as a point of contact for South and North Korea to confirm their traditional musical culture and national identity.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"382 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":"126729079","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 Plan for Traditional Percussion Education Utilizing \"Byeoldalgeori\" in Elementary School","authors":"Heeyun Park","doi":"10.29028/jngc.2023.47.251","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.251","url":null,"abstract":"'Byeoldalgeori' is a rearranged piece based on Yeongnam nongak . Not only Jinju-Samcheonpo nongak 's 'Byeolgutnori', which is directly mentioned as the background of the creation of 'Byeoldalgeori', but also Geumneung Bitnae nongak's 'Panan dadeuraegi (sorigut )' are closely related to 'Byeoldalgeori'. This study compares and analyzes the musical composition and characteristics between the three musical pieces and examines musical expressions of the percussions shown in nongak (also called pungmul ; percussion ensemble music) and samulnori (a modernized version of pungmul ). Thus, it aims to find educational plans that can be used for elementary students to learn traditional percussions. \u0000In order to examine the musical composition and characteristics of samulnori and nongak, this study divides the entire piece into instrumental and vocal elements to explore musical characteristics and effects. In addition, it grasps the structure of the jangdan (rhythmic patterns) by identifying it with sobak (lit. small beat; subdivided beat) and bak (beat) according to the rhythmic structure, and analyzes phrases and whole pieces based on the rhythmic type. \u0000As a result, the musical composition and characteristics are derived as follows. \u0000First of all, both nongak and samulnori include vocal and instrumental elements, which are arranged in a balanced way, based on hwimori jangdan (four beats with duple subdivisions). Vocal elements include lines, slogans, and rhymes, each of which plays a role of giving signals, praying for wishes, and conveying daily situations, respectively, enriching the contents of the music. The rhythm patterns of hwimori jangdan can be seen as variations, and they form a musical phrases such as a type of one jangdan (one jangdan periodically), a type of dual jangdans (two contrasting jangdans periodically), and a stereotyped type (the fixed number of jangdans with the fixed rhythmic patterns and order periodically). The style of call and response and the style according to hanbae (tempo) in an entire piece are found. \u0000This study proposes an educational plan using the musical expressions of Korean traditional percussion music. First, in terms of vocal elements, learners can express various contents in slogans, and rhymes to match hwimori jangdan . Second, in terms of instrumental elements, they can learn various rhythm patterns of hwimori jangdan and then make various musical phrases combining them in a new way. \u0000Third, they can properly arrange vocal and instrumental elements and introduce the style of call and response to make the entire piece well-structured. Lastly, they can properly utilize the function of conventional hwimori jangdan to realize the form according to hanbae in the entire piece.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"16 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":"134447570","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 Comparative Study of the Texts of Peking Opera Hwayongdo and Pansori Hwayongdo","authors":"Yilin Dong","doi":"10.29028/jngc.2023.47.157","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.157","url":null,"abstract":"This study compared and analyzed saseol (texts like lyrics and dialogues) of Chinese Peking opera Hwayongdo (華容道 The Huarong Path) and the passage of 'Hwayongdo' in Korean pansori (musical storytelling) Jeokbyeokga. To this end, reviewing the written materials related to the Peking opera Hwayongdo, it found that it was first included under the title Dangcao in Chewangfu quben, a collection of librettos of early Peking opera works from the mid-Qing Dynasty (1636-1912). \u0000The title Hwayongdo was first used in the 'Qingshengping ban ximu' (repertoire of plays by the Qingshengping troupe) of the Chinese literature Dao Xian yilai Liyuan xinian xiaolu (a small record of the theater from the Daoguang and Xianfeng) at the 4th year of the Daoguang Emperor (1824). \u0000The results of comparing the saseol of the Peking opera Hwayongdo included in Jingju chuantong juben huibian (a collection of traditional Peking opera scripts) with that of 'Hwayongdo' in Jeokbyeokga performed by Song Sun-seop are as follows. First, the Hwayongdo of the two countries were different in terms of saseol composition by each section. Scenes were added to the beginning section in Peking opera whereas they were added in the middle and final sections in pansori. Second, the development of saseol contents was generally similar, but there were differences in the focal point of the description. Pansori 'Hwayongdo' had a strong tendency to express the character's way of speaking, expression, and appearance vividly and realistically. However, the Peking opera Hwayongdo was concisely organized around the plot. \u0000This phenomenon is not only because Chinese audiences are more familiar with the contents of the novel The Romance of the Three Kingdoms , but also because the dialogue, acting, and makeup of Peking opera actors were able to vividly express Hwayongdo and thus a realistic description was unnecessary. On the other hand, Korean audiences would have been very curious about the exotic subject matter and characters appearing in 'Hwayongdo' and to satisfy this curiosity, a more detailed description and added content would have been needed. \u0000This study are significant in that they confirm how the traditional performing art of China and Korea, both based on the same novel The Romance of the Three Kingdoms , has developed as different types of contents in the process of accommodating the performance environment and the taste of audiences.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"116 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":"132470841","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 Comparative Analysis of the Sound of 12-string and 25-string Gayageum","authors":"Hai Zhong, Jaerock Park","doi":"10.29028/jngc.2023.47.445","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.445","url":null,"abstract":"Korean gayageum (plucked zither) has been modified for more than 100 years from the late 19th century to the 21st century. In the process of modifying the 12-string traditional gayageum representing gayageum for jeongak (classical music) and sanjo (solo instrumental music) into the 25-string gayageum, the specifications of the resonator, the number of strings, and the playing method have changed. This study measures the data such as the volume, decay time, pitch change, and harmonic characteristics of each string using spectrum analysis tool after sampling the sound, in order to compare the sound of the traditional and modified gayageum through the data and to define the difference between them. As a result, the sound of the 12-string and the 25-string gayageum are similar in many respects, but the 25-string gayageum compared to 12-string gayageum has superior results in terms of sound sustain, pitch stability, and richness of overtones. On the other hand, it was also found that the low volume of the gayageum, which has long been a problem in new Korean music ensembles such as gugak (Korean traditional music) orchestra, was not solved even in the 25-string gayageum. This study aims to be an important reference for future research on the sound of gayageum and the modification of Korean traditional music instruments.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"41 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":"117255258","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":"Exploring the Direction of Cultural Heritage Education in Schools for the Enjoyment of Culture","authors":"Minha Kim, Kyungeon Lee","doi":"10.29028/jngc.2023.47.119","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.119","url":null,"abstract":"This study aims to propose the direction of teaching cultural heritages at the music class in schools following the perspective that cultural heritage education should lead to ‘cultural enjoyment’. In this study, the definition of cultural enjoyment that can be applied in school education is considered as ‘the intellectual, emotional, practical process and its results that an individual actively seeks to understand and experience culture,’ and three attributes of ‘activity, positive sentiment, and participation’ are presented as those of cultural enjoyment. \u0000As a result of analyzing the current status and problems of cultural heritage education in schools, the following problems were identified: ‘curriculum standards centered on research and presentation,’ ‘curriculum standards limited to appreciation and value recognition,’ ‘textbook contents biased towards data presentation and information delivery,’ and ‘inadequate provision of musical experiences for learning cultural heritages.’ To solve such problems and increase the possibility of achieving the goal of 'enjoying culture' in school education, we propose three aspects in cultural heritage education: establishing goals for cultural heritage education that promote the development of 'subjectivity in creating'; setting up a content framework for cultural heritage education centered on 'enjoyment'; and enhancing the ability to enjoy culture based on participatory cultural heritage learning. \u0000The significance of this study is to raise the need for cultural heritage education in schools to move in the direction of enhancing learners' ability to enjoy culture, and to discuss the direction for this. To solve the problems raised in this study, it is important to achieve social consensus on cultural heritage, revise national education curricula, develop music textbooks, and cooperate with institutions related to cultural heritage education","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"04 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":"129603859","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 Contents of the Integrated Instruction for Judae Sori","authors":"Jiyeon Oh","doi":"10.29028/jngc.2023.47.333","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.333","url":null,"abstract":"This study is motivated to make people have a wide range of thoughts of empathizing with Korean life through minyo (folk song) education and further to educate minyo that reflects locality. Accordingly, it examines educational contents utilizing judae sori, a folk song which has been handed down in the Incheon area, selecting an integrated educational method to obtain various information through the subject and develop communication skills. \u0000The study was conducted as follows. First, it set a learning structure goal, reviewing the concept and necessity of integrated education. Second, it extracted the contents at a level that elementary school students can learn, examining the contents of judae sori . Third, it selected a subject corresponding to the extracted contents of judae sori and set a guidance direction for teaching and learning of judae sori , examining the 2015 revised curriculum. Fourth, it composed the contents of integrated instruction of judae sori and specified the instruction contents through teaching activities. \u0000The results of the study are as follows. Judae sori includes geographical elements of learning the location and background of the region, cultural and historical elements of learning the background of the era in which the song was sung, ethical elements of learning through the connection between music and labor, and musical elements of learning singing. In elementary schools, these integrated elements of judae sori have a direct relationship with the subjects of society, ethnics, and music, while they can be reconstructed at the teacher's discretion in the subjects of Korean literature and arts according to the contents of the curriculum . It integrates the elements that make up judae sori and the corresponding subjects to select instructional contents, and plans learning activities in the stages of introduction, development, and organization following the set learning structure to design specific instructional contents for judae sori .…","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"237 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":"124439744","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 Development Plan of Research Projects of the Busan National Gugak Center - Focusing on Researching and Discovering Local Traditional Arts -","authors":"Hyejung Im","doi":"10.29028/jngc.2023.47.431","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.431","url":null,"abstract":"The Busan National Gugak Center should utilize its strengths as an institution to establish and implement long-term plans for research projects. This paper discusses the Busan National Gugak Center's development plans for research projects of related to the research and discovery of local traditional arts, emphasizing three aspects of 'examination in connection with existing research projects', 'expansion of the target area and period', and 'application of the perspectives of dissemination and assimilation'. \u0000First, it is necessary to link with existing research projects. As a research conducted by an institution, it will not only help maintain a certain direction, but will create comprehensive and large-scale research results by organically linking individual works of researching and discovering local traditional arts. As an example, this paper proposes a study that can be linked to the contents of the 'Yeongnam Dance Terminology Manual,' the data included in the results of the project based on the oral records of individual artists. \u0000Second, the expansion of the target area and period implies to break down the existing regional boundaries which relied on artists, intangible cultural heritages, and recording materials based in Busan and Yeongnam. If the target area to examine is expanded to the whole country and overseas for new data that has not been collected before, it can overcome the limitation that research projects have mainly focused on the late 20th century. \u0000Third, this study proposes to investigate the cultural identity of Busan and Yeongnam regions through the application of the perspectives of dissemination and assimilation. When viewed from a vertical and horizontal perspective in the context of the development of art history, Korea's local traditional arts have a relationship with other art items in the same region or with similar art items in other regions in the process of forming and developing overlapping activities of each artist. In other words, 'traditional art of Busan' or 'traditional art of Yeongnam' can be said to have local characteristics in the process of dissemination and assimilation, and in order to discover this, it is necessary to apply the perspective of dissemination and assimilation.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"7 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":"130330654","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 Aspects of Mode Expansion of the Pentatonic Scale in the North Korean Folk Music","authors":"Yongchun Piao, Kyung-hoon Han","doi":"10.29028/jngc.2023.47.179","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.179","url":null,"abstract":"The North Korean folk Music is characterized by the pentatonic scale, which is made up of the five tones of gong (C), shang (D), jue (E), zhi (G), and yu (A). \u0000There are five corresponding modes in it: gong mode, shang mode, jue mode, zhi mode and yu mode. It contains a unique 'sigimsae' (decorative expressions) and and exhibits a unique style. Given the researches on the pentatonic scale modes in the North Korean folk Music from 1950 to 2000, it is divided into studies on structural characteristics and types of the modes based on 'pyongjo three-tone serial' and 'gemyongjo three-tone serial' and studies on the mode expansion. \u0000Among those, the researches on the mode expansion are generally based on Hwang Min-myung's theory. \u0000This study examines the theoretical background and formation process of the pentatonic scale modes in the North Korean folk songs and analyzes the structure and tone characteristics between 'basic scale modes' and 'expanded scale modes', which have not yet been studied by the theory of expansion of the pentatonic scale modes in folk songs. Furthere, it seeks theoretical study on the modal development, aspects of modulation, and aspects of modal change in the same serial of extended scale modes. Therefore, this studycomposes the mode scales based on Hwang Min-myung's theory of the expansion of the pentatonic scale modes and divides the corresponding extended modes into 9 types. Among them, it is found that 'same serial modulation' and 'same tonic-note modulation' are made between scale modes due to the characteristics of 'same serials' and 'same scale modes' that appear in modes and extended scale modes in accordance to the alternative notes such as B, Bb, C#, Eb, F, and F#. \u0000This study aims to suggest the possibility of the development of the pentatonic scale modes in the Korean folk music. Therefore, it is expected that research on the pentatonic scale modes in Korea and other countries around the world will serve as a theoretical foundation for the creation of music by presenting the direction of research results that strengthen the basic frame of theory.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"62 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":"134457630","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 Musical Relationship between and","authors":"Byeol Shin","doi":"10.29028/jngc.2023.47.009","DOIUrl":"https://doi.org/10.29028/jngc.2023.47.009","url":null,"abstract":"This study is the result of revealing that the movement of the Joseon Dynasty is musically related to , which has been handed down since the Goryeo Dynasty, and examining the significance of the connection and the transmission process of . \u0000 is a movement in the early Joseon Dynasty that is included in 『Sejongsillokakbo(世宗實錄樂譜)』 and is played in Aheon(亞獻) and Jongheon(終獻)'s Heonrye(獻禮) among the current jongmyo jeryeak. was created during the Goryeo Dynasty, and some of the lyrics and scores are delivered in 『Siyonghyangakbo(時用鄕樂譜)』 In this paper, we focused on the relationship between these two songs. \u0000Through the 1980s, interest in the musical relationship between the movement of the Joseon Dynasty and Goryeo song emerged in the Korean traditional music and Korean literature circles. The study of this relevance greatly helps to grasp the music organization habits, characteristics, and the history of our music at that time. There have been no reports of music related to , and while reviewing the movements of the early Joseon Dynasty, this paper confirmed that it shares a considerable melody with , a song from the Goryeo Dynasty. \u0000 is a song composed of 10 lines, and is composed of 12 lines. \u0000Except for lines 6, 7, and 8 of the melodies of , all traces of extracting the melody of as it is or using decoration were confirmed. This melodic similarity suggests that the two songs have a strong affinity. \u0000In addition, we looked at the pattern in which the melody of has been passed down through to and . At the beginning of followed the melody of and pursued some changes by adding decorations, but in the second half, a new melody was introduced to pursue many changes. And since is a change of the name of , the two songs are very similar. The melody of , a total of five lines, was borrowed from and the only difference is the end of the song. This follows the final method of the music included in the 『Sejongsillokakbo』. In summary, directly affected the melody of , and the melody of influenced and and has been passed down to the present. \u0000As such, the movement of the Joseon Dynasty has a strong connection with the songs of the Goryeo Dynasty. As confirmed in this paper, some of the movements of the early Joseon Dynasty were adapted from Goryeo songs, and in this study, a melodic connection between and was found, adding another example of the musical connection between the Goryeo Dynasty and the Joseon Dynasty.","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"31 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":"115506574","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 Development Plan through Analysis of the Status of the Middle School Gugak Education","authors":"Jooho Lee","doi":"10.29028/jngc.2022.46.131","DOIUrl":"https://doi.org/10.29028/jngc.2022.46.131","url":null,"abstract":"Gugak (Korean traditional music) is a great legacy of the Korean people, which has developed creatively through the long history of contacting with foreign music. However, it has been neglected in school education, and its importance has gradually increased through the revision of the curriculum. \u0000This study intends to figure out whether gugak education is actually expanding in the school field and to study development plans by analyzing the current status of gugak education in 10 middle schools located in Gangnam-gu, Seoul. \u0000As a result of analyzing the gugak class hours in the 10 middle schools for three years, they are 24.7 hours on average, or 19.7% of the entire music class hours, which are considerably lower than the number of Western music class and far below the proportion of curriculum or textbooks. The distribution of the proportion of gugak class hours is 8.4% ~ 31.8%, which shows that there is a significant deviation by school. The intensive completion system is implemented by 8 schools, and the distribution by area is 41.9% for appreciation, 32% for instrumental music, 19.6% for singing, 5.8% for daily life, and 0.6% for creative writing. There is only one school that organizes all areas evenly. Moreover, due to the COVID-19, the vocal and wind instrument performance classes have decreased while the appreciation classes have increased relatively, for which alternatives are required.…","PeriodicalId":312512,"journal":{"name":"National Gugak Center","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125973520","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}