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Mueller, Wolf-Detrich,Koo B. Chin Korean Society for Food Science of Animal Resource 2003 한국축산식품학회지 Vol.23 No.4
The objectives of this study were to develop restructured meat products(RMPs) using a transgluta-minase(TGase) and to improve the textural characteristics of RMPs manufactured with pale, soft, exudative(PSE) pork hams. The pH values of RMPs with PSE and normal pork were 5.94 and 6.07, respectively, and their water activity value was approximately 0.981. The RMPs had 70∼72% moisture, 4∼5% fat, 19∼20% protein, and approximately 3% ash contents. No differences in pH, water activity, chemical composition, and hunter color values were observed between RMPs manufactured with normal and PSE pork(p>0.05). However, RMPs containing PSE pork hams had higher drip loss(%)(p>0.05) than those with normal pork hams after 10 days of refrigerated storage. Although no differences were observed in the texture profile analysis(TPA) hardness and sensory evaluation, RMPs with PSE pork hams tended to have more pores and lower binding capacity those with normal pork. This result indicated that additional substrates or longer tumbling time(>4 hr) for the manufacture of RMPs containing PSE pork were required for the products to have similar palatability to those with normal pork.
Performing Age, Class, and Gender in Korean P’ansori
Ruth Mueller 아시아음악학회 2015 Asian Musicology Vol.25 No.-
P‟ansori, narrative song of lower class origin, became popular amongst all levels of society through the eighteenth and nineteenth centuries. As the genre grew in popularity with the upper class, performers altered stories and performance style to suit the audience. The folk style was more emotionally expressive, linguistically direct, was performed outdoors, and had a raspier sound; the aristocratic style was more emotionally reserved, used refined language, was performed indoors, and had a clearer tone. Current performances are typically held in theatrical settings and students train in institutions. Still, through fieldwork, variations in performance practice became apparent to me. Some singers gesture to mime words while other singers gesture to emphasize ornamentation; some singers use a large amount of stage space and interact directly with the audience while other singers remain center stage and interact with the accompanying drummer. The choice performance style seems to often reflect a gender divide with men performing folk style and women the aristocratic style. As women age they seem to be allowed more freedom of movement and expression and shift towards the folk style. Through ethnographic and movement analysis, I demonstrate how movement and gesture are culturally encoded with varying class and gender identities.