• The Journal of the Acoustical Society of Korea
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• v.27 no.1
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• pp.12-17
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• 2008

Taepyeongso was introduced from China during the end of the Goryeo period and was used widely in Daechwita (military processional music), Pungmul-nori (farmers music), Buddhist music, royal ancestral rite music, and Sinawi, the instrumental accompaniment to shaman dances. Now, It has been popular as it is used for pop music and it is easy to learn. In this paper, Taepyeongso was analyzed for electronic Taepyeongso using physical modeling. We extracted resonance properties of Taepyeongso through the analysis of Taepyeongso sound. We analyzed the bell, the bore and the mouthpiece using FFT and LPC curve. As a result, the bell could be represented 2 pole filter and reflection filter between bore and bell.

• The Journal of the Acoustical Society of Korea
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• v.28 no.3
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• pp.229-238
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• 2009

This paper describes a sound engine of Korean traditional instruments, which are the Gayageum and Taepyeongso, by using a TMS320F2812. The Gayageum and Taepyeongso models based on commuted waveguide synthesis (CWS) are required to synthesize each sound. There is an instrument selection button to choose one of instruments in the proposed sound engine, and thus a corresponding sound is produced by the relative model at every certain time. Every synthesized sound sample is transmitted to a DAC (TLV5638) using SPI communication, and it is played through a speaker via an audio interface. The length of the delay line determines a fundamental frequency of a desired sound. In order to determine the length of the delay line, it is needed that the time for synthesizing a sound sample should be checked by using a GPIO. It takes $28.6{\mu}s$ for the Gayageum and $21{\mu}s$ for the Taepyeongso, respectively. It happens that each sound sample is synthesized and transferred to the DAC in an interrupt service routine (ISR) of the proposed sound engine. A timer of the TMS320F2812 has four events for generating interrupts. In this paper, the interrupt is happened by using the period matching event of it, and the ISR is called whenever the interrupt happens, $60{\mu}s$. Compared to original sounds with their spectra, the results are good enough to represent timbres of instruments except 'Mu, Hwang, Tae, Joong' of the Taepyeongso. Moreover, only one sound is produced when playing the Taepyeongso and it takes $21{\mu}s$ for the real-time playing. In the case of the Gayageum, players usually use their two fingers (thumb and middle finger or thumb and index finger), so it takes $57.2{\mu}s$ for the real-time playing.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.2
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• pp.205-211
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• 2020

The public knows the singer Shin Haechul as a musician who performs various musical activities as a producer, singer, and songwriter. However, he was also an all-encompassing entertainer who has been involved in different fields of popular media. His musical tendency is very progressive, and he pursues various attempts to create experimental fusion style music. Among his albums, 'MonoCrom' is the result of a combination of unique techno music and traditional music, and this album is known to bring the level of Korean popular music one step further in terms of musical value and meaning towards a new, unique sound. In this album, gukak holds great importance. In addition to the traditional samulnori instruments such as kkwaenggwari, janggu and jing, instruments like daegeum, taepyeongso, pumba and taryeong were used to show more progressive and expanded crossover music through the collaboration with gukak. In order for the current 'K-Pop' to continue to gain worldwide popularity, it needs a new attempt based on musical expandability. Therefore, if gukak is used as in the album MonoCrom, unique and differentiated music will be created, and will continually promote the worldwide interest in 'K-Pop'.

• The Journal of the Acoustical Society of Korea
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• v.24 no.8
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• pp.469-480
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• 2005

There have been always some difficulties in target setting and conditioning of acoustic performances or the Korean traditional music hall due mainly to the lack of the information on the sound radiation characteristics of Korean musical sources. As the 2nd experiment succeeding the previous study[1], the radiation characteristics of eight typical Korean traditional musical sources were investigated if precision. The selected musical sources were Geomungo, Haegeum (string), Piri, Taepyeongso (woodwind), Buk, Kwaengguari, Jing (drum), and male Pansori Chang (vocal Performance). The results show that the directivity pattern of each instrument is different and has their own directivity characteristics. Measured directional and spectral characteristics of traditional Korean music sources were implemented into the computation of architectural acoustic measures. Significant differences in the acoustic measures at receiver positions were observed between the results in using the omni-directional source and the directional one. In order to investigate the acoustical characteristics of the instruments depending on the spatial variation four different shapes of halls were introduced including rectangular, fan. horse-shoe and geometrical shapes. Room acoustical parameters such as RT, SPL, C80, LF, STI were calculated at each type or hall. As the results, It was found that the rectangular hall has the most high clarity. lateral energy and STI values among low shapes of halls. It is thought that the suggested source data and design method can be used as a basic reference in the future acoustic design of performance halls for the Korean traditional music.

• (The) Research of the performance art and culture
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• no.37
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• pp.5-31
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• 2018

The mask dance drama Goseong Ogwangdae's first act, Mundung Bukchum. The story is about a man who was born to the upper class but contracted leprosy, an incurable disease, due to his ancestors' accumulated sin. Although he is suffering, he is able to triumph over the disease through sinmyeong (catharsis) that is expressed through the wordless act of Mundung Bukchum. This thesis focuses on Goseong Ogwangdae's Mundung Bukchum, particularly the meaning, costume, accompanying music, and process of pedagogical transmission. The chronological characteristics of Goseong Ogwangdae's Mundung Bukchum are as follows. First, as time goes on, the number of dance motions in Mundung Bukchum has increased and the motions used have become reified. Second, I address the small barrel drum used in Mundung Bukchum and check how, through the drum, the changed expression of Mundung is shown.In a 1965 video introduced Mundung is grasping the drum and stick and the dance appears to be made up only of humorous motions. Also in a 1969 video, "Mundung Gwangdae," from the start Mundung is grasping the drum and stick. In 1988 in a video we can see the same scene as today, with the drum and stick sitting in the center of the stage at the start of the dance. We can also confirm that the same fourteen dance motions used today are present. Third, we can also confirm the changes in Goseong Ogwangdae's signature motion, baegimsae as time goes on. Observing the video from 1965, baegimsae does not appear in Mundung Bukchum. In 2000 we can clearly see the baegimsae performed once to the left and to the right while Mundung is squatting. Comparing 1969 to 1988, there is no symmetry in the motions, baegimsae is not done to both left and right, but only in one direction. Watching the record from 2000, the baegimsae motion is performed just as it is now, with the body thrown forward with a sharp push off the ground. Fourth I confirmed how the music used to accompany Goseong Ogwangdae's Mundung Bukchum has changed over time. In 1965 according to records of Mundung Bukchum's appearance, the dance was accompanied by the taryeong rhythmic pattern played on the usual four percussion instruments (barrel drum, hourglass drum, large gong, small gong). In the 1969 records of Mundung Bukchum the accompanying music is gutgeori rhythmic pattern performed on the usual four percussion instruments-an obvious difference. In 1988 the music with Mundung Bukchum is gutgeori rhythmic pattern transitioning into jajinmori rhythmic pattern. In 2000 the music with Mundung Bukchum includes the percussion instruments as well as taepyeongso (double reed oboe) playing gutgeori and jajinmori rhythmic patterns.