Trợ Động Từ Trong Tiếng Hàn Quốc
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Yun Mi Hwang Phd Thesis
SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY Yun Mi Hwang A Thesis Submitted for the Degree of PhD at the University of St Andrews 2011 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/1924 This item is protected by original copyright This item is licensed under a Creative Commons Licence SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY YUN MI HWANG Thesis Submitted to the University of St Andrews for the Degree of PhD in Film Studies 2011 DECLARATIONS I, Yun Mi Hwang, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student and as a candidate for the degree of PhD in September 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2006 and 2010. I, Yun Mi Hwang, received assistance in the writing of this thesis in respect of language and grammar, which was provided by R.A.M Wright. Date …17 May 2011.… signature of candidate ……………… I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. -
Woodwind Family
Woodwind Family What makes an instrument part of the Woodwind Family? • Woodwind instruments are instruments that make sound by blowing air over: • open hole • internal hole • single reeds • double reed • free reeds Some woodwind instruments that have open and internal holes: • Bansuri • Daegeum • Fife • Flute • Hun • Koudi • Native American Flute • Ocarina • Panpipes • Piccolo • Recorder • Xun Some woodwind instruments that have: single reeds free reeds • Clarinet • Hornpipe • Accordion • Octavin • Pibgorn • Harmonica • Saxophone • Zhaleika • Khene • Sho Some woodwind instruments that have double reeds: • Bagpipes • Bassoon • Contrabassoon • Crumhorn • English Horn • Oboe • Piri • Rhaita • Sarrusaphone • Shawm • Taepyeongso • Tromboon • Zurla Assignment: Watch: Mr. Gendreau’s woodwind lesson How a flute is made How bagpipes are made How a bassoon reed is made *Find materials in your house that you (with your parent’s/guardian’s permission) can use to make a woodwind (i.e. water bottle, straw and cup of water, piece of paper, etc). *Find some other materials that you (with your parent’s/guardian’s permission) you can make a different woodwind instrument. *What can you do to change the sound of each? *How does the length of the straw effect the sound it makes? *How does the amount of water effect the sound? When you’re done, click here for your “ticket out the door”. Some optional videos for fun: • Young woman plays music from “Mario” on the Sho • Young boy on saxophone • 9 year old girl plays the flute. -
Perbandingan Songpa Sandaenori Dengan Yangju Byeolsandaenori
PERBANDINGAN SONGPA SANDAENORI DENGAN YANGJU BYEOLSANDAENORI HIKMAH MALIA NIM 153450200550013 PROGRAM STUDI BAHASA KOREA AKADEMI BAHASA ASING NASIONAL JAKARTA 2018 PERBANDINGAN SONGPA SANDAENORI DENGAN YANGJU BYEOLSANDAENORI Karya Tulis Akhir Ini Diajukan Untuk Melengkapi Pernyataan Kelulusan Program Diploma Tiga Akademi Bahasa Asing Nasional HIKMAH MALIA NIM 153450200550013 PROGRAM STUDI BAHASA KOREA AKADEMI BAHASA ASING NASIONAL JAKARTA 2018 PERNYATAAN KEASLIAN TUGAS AKHIR Dengan ini saya, Nama : Hikmah Malia NIM : 153450200550013 Program Studi : Bahasa Korea Tahun Akademik : 2015/2016 Menyatakan dengan sesungguhnya bahwa Karya Tulis Akhir yang berjudul Perbandingan Songpa Sandaenori dengan Yangju Byeolsandaenori merupakan hasil karya penulis dan penulis tidak melakukan tindakan plagiarisme. Jika terdapat karya tulis milik orang lain, saya akan mencantumkan sumber dengan jelas. Atas pernyataan ini penulis bersedia menerima sanksi yang dijatuhkan kepada penulis, apabila dikemudian hari ditemukan adanya pelanggaran atas etika akademik dalam pembuatan karya tulis ini. Demikian surat pernyataan ini dibuat dengan sebenar-benarnya. Jakarta, Agustus 2018 Hikmah Malia ABSTRAK Hikmah Malia, “ Perbandingan Songpa Sandaenori dengan Yangju Byeolsandaenori”. Karya tulis akhir ini membahas tentang perbandingan yang terdapat pada Songpa Sanadenori dengan Yangju Byeolsandaenori dimana keduanya merupakan cabang dari Sandaenori. Sandaenori merupakan nama lain dari tari topeng yang dikenal luas dengan nama Talchum (탈춤). Terdapat perubahan pada jenis Sandaenori. -
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10.18132/LFZE.2012.21 Liszt Ferenc Zeneművészeti Egyetem 28. számú művészet- és művelődéstörténeti tudományok besorolású doktori iskola KELET-ÁZSIAI DUPLANÁDAS HANGSZEREK ÉS A HICHIRIKI HASZNÁLATA A 20. SZÁZADI ÉS A KORTÁRS ZENÉBEN SALVI NÓRA TÉMAVEZETŐ: JENEY ZOLTÁN DLA DOKTORI ÉRTEKEZÉS 2011 10.18132/LFZE.2012.21 SALVI NÓRA KELET-ÁZSIAI DUPLANÁDAS HANGSZEREK ÉS A HICHIRIKI HASZNÁLATA A 20. SZÁZADI ÉS A KORTÁRS ZENÉBEN DLA DOKTORI ÉRTEKEZÉS 2011 Absztrakt A disszertáció megírásában a fő motiváció a hiánypótlás volt, hiszen a kelet-ázsiai régió duplanádas hangszereiről nincs átfogó, ismeretterjesztő tudományos munka sem magyarul, sem más nyelveken. A hozzáférhető irodalom a teljes témának csak egyes részeit öleli fel és többnyire valamelyik kelet-ázsiai nyelven íródott. A disszertáció második felében a hichiriki (japán duplanádas hangszer) és a kortárs zene viszonya kerül bemutatásra, mely szintén aktuális és eleddig fel nem dolgozott téma. A hichiriki olyan hangszer, mely nagyjából eredeti formájában maradt fenn a 7. századtól napjainkig. A hagyomány előírja, hogy a viszonylag szűk repertoárt pontosan milyen módon kell előadni, és ez az előadásmód több száz éve gyakorlatilag változatlannak tekinthető. Felmerül a kérdés, hogy egy ilyen hangszer képes-e a megújulásra, integrálható-e a 20. századi és a kortárs zenébe. A dolgozat első részében a hozzáférhető szakirodalom segítségével a szerző áttekintést nyújt a duplanádas hangszerekről, bemutatja a két alapvető duplanádas hangszertípust, a hengeres és kúpos furatú duplanádas hangszereket, majd részletesen ismerteti a kelet-ázsiai régió duplanádas hangszereit és kitér a hangszerek akusztikus tulajdonságaira is. A dolgozat második részéhez a szerző összegyűjtötte a fellelhető, hichiriki-re íródott 20. századi és kortárs darabok kottáit és hangfelvételeit, és ezek elemzésével mutat rá a hangszerjáték új vonásaira. -
A Study on the Items and Shapes of Korean Shrouds
IJCC, Vol. 3 No. 2, 100 ~ 123(2000) 26 A Study on the Items and Shapes of Korean Shrouds Min-Yi Nam* and Myung-Sook Han *Instructor, Joong Bu University Professor, Dept, of Clothing and Textiles, Sang Myung University Abstract The purpose of this research was to understand changes in Korean shrouds and to enhance practical usage of them by examing the items and shapes of Korean shrouds classified into two categories, traditional and current. We first examined the history of shrouds and funeral ceremonies from the prehistoric age to the Chos 6n dynasty, and second, examined the items and shapes of traditional and current shrouds. As for the items, no big changes were recognized though there had been some changes in the way of using Keum(^), Po(袍L and Kwadu(裏月j). Overall, the items had became somewhat simplified. The traditional shapes of shrouds are relatively -well-maintained despite some changes in current shrouds Aksu, Yeom이'女慨 etc, which had been made easier to put on. Key words : traditional shrouds, current shrouds, the items of shrouds, the shapes of shrouds, funeral ceremonies. and generally shown in everyday life as well as I ・ Introduction in funeral rites. Therefore, 'death' is a mournful thing but at the same time a rite that makes us Since Koreans have believed in the idea of feel reverence for the next world. the next world from ancient times, in which The rite of washing the deceased and clothing death is regarded as a departure towards a new them in ceremonial costumes is a mode of world rather than an end, they have practiced living of all times and a part of Korean culture. -
2 0 1 9 – 2 0 2 0 S E a S
IGNITE PASSION. EMBRACE JOY. 2019–2020 SEASON CELEBRATIONCELEBRATION He rouses our spirits, moves us to tears, and inspires our most profound thoughts. Revolutionary, seminal, colossal—he is without challenge the face of Western classical music. To mark the 250th anniversary of Beethoven’s birth, Carnegie Hall presents one of the largest explorations of the great master’s music in our time. Sir John Eliot Gardiner with the Orchestre Révolutionnaire et Romantique Ludwig van Beethoven—studied from the death mask [i.e., life mask] Hugo Hagen (ca. 1892), based on life mask by Franz Klein (1812), loc.gov/item/2001700485. Ludwig van Beethoven—studied from the death mask [i.e., life mask] Hugo Hagen (ca. 1892), based on life mask by Franz Klein (1812), loc.gov/item/2001700485. Yannick Nézet-Séguin with The Philadelphia Orchestra | Quatuor Ébène Emanuel Ax | Leonidas Kavakos | Yo-Yo Ma | Anne-Sophie Mutter Kristian Bezuidenhout | Yefim Bronfman | Evgeny Kissin | Maurizio Pollini Sir András Schiff | Mitsuko Uchida | and more , photograph of bust statue by , photograph of bust statue by George Bernard Shaw called Beethoven “a temple of the most turbulent spirit that ever found expression in sound.” carnegiehall.org/carnegiehall.org/beethovenbeethoven Come marvel at the temple and be swept away. 2019–2020 Season Highlights Photos: DiDonato by Simon Pauly; Gadriner by Sim-Canetty Clarke; Kidjo by Sofia Sanchez and Mauro Mongiello; Nézet-Séguin by Hans van der Woerd; Widmann by Marco Borggreve; Stern by Henry Grossman, courtesy of the Carnegie Hall Archives. PERSPECTIVES Photos: DiDonato by Simon Pauly; Gadriner by Sim-Canetty Clarke; Kidjo by Sofia Sanchez and Mauro Mongiello; Nézet-Séguin by Hans van der Woerd; Widmann by Marco Borggreve; Stern by Henry Grossman, courtesy of the Carnegie Hall Archives. -
Gendered Practices and Conceptions in Korean Drumming: on the Negotiation of "Femininity" and "Masculinity" by Korean Female Drummers
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Gendered Practices and Conceptions in Korean Drumming: On the Negotiation of "Femininity" and "Masculinity" by Korean Female Drummers Yoonjah Choi Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/413 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Gendered Practices and Conceptions in Korean Drumming: On the Negotiation of “Femininity” and “Masculinity” by Korean Female Drummers by Yoonjah Choi A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 2014 Yoonjah Choi All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Emily Wilbourne, Chair of Examining Committee Date Norman Carey, Executive Officer Professor Jane Sugarman Professor Peter Manuel Professor Anderson Sutton Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract Gendered Practices and Conceptions in Korean Drumming: On the Negotiation of “Femininity” and “Masculinity” by Korean Female Drummers by Yoonjah Choi Ph.D. in Ethnomusicology Advisor: Professor Jane Sugarman Korean drumming, one of the most popular musical practices in South Korea, currently exists in a state of contradiction as drumming, historically performed by men, is increasingly practiced by women. -
UNIVERSITY of CALIFORNIA Los Angeles the Third
UNIVERSITY OF CALIFORNIA Los Angeles The Third Instrument: A Study on the Usage and Potential of the Speaking Voice in the Musical Compositions Façade, Curlew River and Lincoln Portrait A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Ye Seung Oh 2013 © Copyright by Ye Seung Oh 2013 ABSTRACT OF THE DISSERTATION The Third Instrument: A Study on the Usage and Potential of the Speaking Voice in the Musical Compositions Façade, Curlew River and Lincoln Portrait by Ye Seung Oh Doctor of Philosophy in Music University of California, Los Angeles, 2013 Professor Ian Krouse, Chair This study explores how the speaking voice can be integrated into music. It includes analyses of three different types of works: Façade ─ An Entertainment (1922 – 1928) composed by William Walton, Curlew River (1956 – 1964) composed by Benjamin Britten, and Lincoln Portrait (1942) composed by Aaron Copland. The analysis of Façade shows how an array of words itself becomes music. Various dance rhythms in the reciter’s part are expressed through the natural accents of written words. The musicality of Façade comes more from the rhyming scheme of poetry rather than music. This method, despite its originality, has the disadvantage that the role of the composer is too limited, and it is practicable only in particular situations such as the collaboration with an ingenious poet like Edith Sitwell. Meanwhile, through the analysis of Curlew River, the applicative range of the speaking voice is extended. This analysis shows how a pitched melody can sound like speaking. The method used in Curlew River seems most practical ii in the way that it made it possible to flexibly cross the boundary between singing and speaking without any interruptions. -
Organised by Supported by KOREA DAY in SHEFFIELD Floor Plan
Organised by Supported by KOREA DAY IN SHEFFIELD Floor Plan Korea Day in Sheffi eld is a day- Promotional Zone long celebration of all things Korean culture from the traditional to the 1. Pilsung Taekwondo contemporary. 2. Korean Cultural Centre UK We're putting on a fun-fi lled day of 3. K-Pop Dance Society live performances, tasty food and 4. Korean Studies unique cultural experiences. 5. Korea Society (Ksoc) Food Zone Experiences · Korean Food and Drinks 1. Pearls · hanbok (traditional clothing) 2. Ksoc Tuck Shop 3. Helena's Korean Kitchen · Traditional Korean Calligraphy with 4. The View Deli Kilchan Lee · Traditional Korean Games tuho (Korean darts), jegichagi (hacky sack), Experience Zone ttakjichigi (Paper tile combat game) 1. Hanbok · Handicrafts Painting a minhwa (Korean folk art) 2. Traditional Games canvas, pouch and traditional Korean- 3. Handicraft style coaster 4. Calligraphy Mini folding screen and necklace 5. Seoul Glow - Korean Skincare · Korean skincare by Seoul Glow 2 3 Stage Shilla Ensemble – Programme Programme 1. Nunggye garak The traditional piece Neunggye-garak refers to the melodies played on the TIME PROGRAMME Korean taepyeongso, an oboe-like reed instrument. Although it is usually performed as part of the farmers’ music repertoire, it is also sometimes played at military processions. 12:30 – 12:50 Taekwondo (Pilsung Taekwondo Club) 13:00 – 13:30 University of Sheffi eld K-pop Society 2. Sanjo Dance The Korean representative music for solo instruments, Sanjo, was developed 13:40 – 14:10 Traditional Korean Music and Dance Performances 1 in the 19th century. It is thought to have been developed from sinawi, a form Shilla Ensemble of improvisation performed during shamanistic ceremonies in the Jeolla-do province, the southwestern part of the Korean peninsula. -
The Hangul Characters
The Korean language is classified as a member of the Ural-Altaic family (other members of this family include the Mongolian, Finnish, and Hungarian languages.) Until the early 1400s, most documents were written in classical Chinese characters (known in Korean as Hanja). As the idiographs are difficult to learn, only the educated people could read and write. King Sejong, the 4th ruler of the Joseon dynasty (1392-1910), set up a special committee of scholars in 1443 to create a new writing system specifically suited to the Korean language. The result was Hangul (meaning 'the one script'). It originally contained 28 symbols, although 4 have dropped out of use. The alphabet has 10 vowels and 14 consonants. The consonants represent the simplified outlines of the parts of the mouth and tongue used to pronounce them. The vowels are associated with elements of the philosophy of the Book of Changes. In 1994, Discovery magazine described Hangul as the most logical language writing system in the world. The simplicity of Hangul led Korea to become one of the most literate countries in the world. U.S. novelist Pearl Buck said that Hangul is the simplest writing system in the world and likenedKing Sejong to Leonardo da Vinci. Even though Hangul is a system of phonetic symbols, it is categorized as new level of feature system, the first and the only in the world. On Oct. 1, 1997, UNESCO designated Hunminjeongeum as world archive property. Koreans commemorate the creation of Hangul each year on October 9. The Hangul Characters Before you begin learning the language, you should take some time to practice writing Hangul. -
An Introduction to Tenor Trombone Solos by Korean Composers By
AN INTRODUCTION TO TENOR TROMBONE SOLOS BY KOREAN COMPOSERS BY Copyright 2016 GUNYONG LEE Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Dr. Michael Davidson ________________________________ Dr. Alan Street ________________________________ Dr. Martin Bergee ________________________________ Professor Scott Watson ________________________________ Professor Steve Leisring Date Defended: April 25, 2016 ii The Dissertation Committee for GUNYONG LEE certifies that this is the approved version of the following dissertation: AN INTRODUCTION TO TENOR TROMBONE SOLOS BY KOREAN COMPOSERS ________________________________ Chairperson Dr. Michael Davidson Date approved: April 27, 2016 iii Abstract This paper examines selected Korean composers and their unpublished works for tenor trombone. Their music blends unique Korean components such as folk melodies, scales, modes, rhythms, and unexpected formal structures with Western elements and styles. The music chosen for this study is from the late twentieth and early twenty-first centuries, specifically Ari-bone for solo trombone and piano (2011) by Moon-Seok Lee and Daechwita for solo trombone (1993) by Cheng-Iek Chang. The first section of this paper includes a brief biographical sketch of each composer. The second section explains several fundamental elements of traditional Korean compositional practices. The third section will present a detailed analysis of each selected work, focusing on the unique Korean elements and the ways they fuse together with Western tradition. Finally, this survey will conclude with a discussion of appropriate performance practices. Many Korean composers have not been published in the West. It is hoped that this paper will help to inspire a demand for Korean solo trombone music, thus finally getting this music published more widely and preserved for future generations. -
Desain Interior Korean Wave Center Di Jakarta Dengan Pendekatan Konsep Pop Art” Adalah Benar- Benar Karya Sendiri, Bukan Plagiat Dan Dibuatkan Orang Lain
perpustakaan.uns.ac.id digilib.uns.ac.id DESAIN INTERIOR KOREAN WAVE CENTER DI JAKARTA DENGAN PENDEKATAN KONSEP POP ART Disusun Untuk Memenuhi Syarat mendapatkan Gelar Sarjana Seni Rupa Jurusan Desain Interior Fakultas Sastra dan Seni Rupa Unversitas Sebelas Maret Surakarta Disusun oleh : BAYU BAGUS TRIYONO C 0808017 JURUSAN DESAIN INTERIOR FAKULTAS SASTRA DAN SENI RUPA UNIVERSITAS SEBELAS MARET SURAKARTA 2012 commit to user perpustakaan.uns.ac.id digilib.uns.ac.id DESAIN INTERIOR KOREAN WAVE CENTER DI JAKARTA DENGAN PENDEKATAN KONSEP POP ART Disusun Untuk Memenuhi Syarat mendapatkan Gelar Sarjana Seni Rupa Jurusan Desain Interior Fakultas Sastra dan Seni Rupa Unversitas Sebelas Maret Surakarta Disusun oleh : BAYU BAGUS TRIYONO C 0808017 JURUSAN DESAIN INTERIOR FAKULTAS SASTRA DAN SENI RUPA UNIVERSITAS SEBELAS MARET SURAKARTA 2012 commit to user i perpustakaan.uns.ac.id digilib.uns.ac.id commit to user ii perpustakaan.uns.ac.id digilib.uns.ac.id commit to user iii perpustakaan.uns.ac.id digilib.uns.ac.id PERNYATAAN Nama : Bayu Bagus Triyono NIM : C 0808017 Menyatakan dengan sesungguhnya bahwa Laporan Tugas Akhir berjudul “Desain Interior Korean Wave Center Di Jakarta Dengan Pendekatan Konsep Pop Art” adalah benar- benar karya sendiri, bukan plagiat dan dibuatkan orang lain. Hal- hal yang bukan karya saya, dalam Laporan Tugas Akhir ini diberi tanda citasi (kutipan) dan ditunjukkan dalam Daftar Pustaka. Apabila di kemudian hari terbukti pernyataan ini tidak benar, maka saya bersedia menerima sanksi akademik berupa pencabutan Tugas Akhir dan gelar yang diperoleh. Surakarta, 11 Juli 2012 Yang membuat pernyataan, Bayu Bagus Triyono NIM. C 0808017 commit to user iv perpustakaan.uns.ac.id digilib.uns.ac.id MOTTO “Jangan ingkari kelemahan diri, namun sadari dengan niat penuh untuk memiliki kelebihan lain untuk mencapai sukses” -Mario Teguh- “You can’t get mad that the world doesn’t go your way, you don’t have to Mind your own business.