In this research, I focused on the life and succession of the Gyeongje Beompae through the oral dictation of Ven Dongju, Seoul's Intangible Cultural Heritage No. 43, while at the same time focusing on new related facts and previously misunderstood information. Ven Dongju was born in Onyang, South Chungcheong Province in 1945, and became a monk in 1961, He learned Beompae from instructor Ven Byeogeung, and completed all Yeongsan courses while attending Ven Songam at Bongwonsa Temple in Seoul, in 1967. At this time, a sound recording of Ven Songam's Beompae was included as key content in 『The Posthumous Works of Grand Master Ven Songam in the Korean Buddhist Chant Series 』. Because his father was a monk, he had been familiar with chanting and Beompae while growing up, and had a profound grasp of memorizing Beompae melodies and performing its rituals. Thus his instructor, Songam, had high expectations for him. In 1970, Ven Dongju left to practice Zen meditation and returned to Sajaam temple, Sangdo-dong, Seoul in 1977. Afterwards, he opened a course at the Institute for Ritual and Chanting and taught Beompae to various disciples. In 1993, he founded Hongwon Temple and has trained many disciples there to this day. He dictated what he heard or experienced while attending Beompae master Ven Songam’s classes, in addition to tose of Ven Kim Taeheup, who was a famous scholar and lecturer on Buddhism. Ven Dongju told me about the first Beompae lecture at Okcheon Beomeum Institute in 1969, especially the Beompae transmission circumstances of the western and eastern regions in Seoul at this time. He mentioned the activities of Ven Jeon Uun, who taught Beompae in Hamheung, Gaeseong, and all around Korea before and after liberation from Japanese occupation, He also talked of monk Eungtan from Jingwansa temple who lectured in Hwajangsa Temple in Gaeseong. These facts tell us that Gyeongje Beompae was not only influenced by Gaeseong Beompae, but also, in turn, influenced it. Above all, the fact that monks were active in the fields of Korean traditional music and Buddhist ritual music and had exchanges with traditional Korean musicians was an opportunity to confirm the important basis that Korean traditional music and Beompae are tied by one root.

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.

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.

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.

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 .

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.

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.