PITHI SAMPEAH KROU OR CEREMONY OF PAYING HOMAGE TO THE TEACHIER IN KHMER DANCE AND MUSIC

SAM-ANG SAM 아시아음악학회 2002 Asian Musicology Vol.2 No.-

Vision on Music Education in Asia Revisited and Redirected

Sam-Ang Sam 한국국악교육연구학회 2014 국악교육연구 Vol.8 No.2

In this paper, I seek to examine and trace the journey of music education in different, but selected, parts of the world to see where we, Asians, are at, in light of the global backdrop as our music education pursuit and unfold. I alluded to the importance of preservation of national culture, identity, and pride, the regionalization of culture, the inward (The Self) versus the outward (The Others) approach, and the East versus the West (how terms, concepts, and purposes help us understand ourselves). Why do we conform to and use the Western standards to understand ourselves, as, often times, our music does not make sense in terms of Western standards while many Western terms do not make sense in our music? We do not even have words for such terms like scale, mode, modulation, or harmony, and so on, as I look at the “Vision of Music Education in Asia Revisited and Redirected.” I also propose a thesis on perspective in the search for a new paradigm in music of Asia paying special attention to the music ideas, terminologies, discourse, and direction that we, Asians, have been taking. Although we, undeniably, benefit from Western ideas and traditions, they also create confusions for us when trying to understand our own music and culture in their terms. Many instances of the actual national music-making have little to do with the studies and analyses of scholars. By following the West, we tend to live in their shadow (as their shadow) and merely play a catch-up game. At the same time, we also lose a sense of identity, pride, and integrity while doing that. I started by asking questions and examining some influential figures and their extraordinary and exemplary works; many of them are our teachers and mentors, such as Chheng Phon (Cambodian on spiritual and celestial art), Jose Maceda (Philippino on new concept, new theory, and new direction), Ravi Shankar (Indian on musical aesthetics and what is good music in the making), Chou Wen-Chung (Chinese on moderation and two worlds: East and West), John Cage (American on chance, silence, out of the loop, out of the norm) to see the meaningfulness or what drives their works. We must reexamine ourselves in terms of future direction in our venture to move forward with our music that is dear to our heart. Indeed, many of us have already started going in the new direction, pounding upon new ideas and concepts such as new theory of music, “flexible diatonic,” diversity in unity, unity in diversity, and beauty in ugliness. We must not judge the East by the standards of the West. When all is said, Asia is, in her own sense, a musical nation with a musical system of its own. Music enters into almost all the humanistic concerns of our lives, and we find it simple, unbinding to rules and restrictions, relevant, vibrant, and meaningful to our lives that others might not understand. Why should we change that? Why do we do things that our Gurus would not do? Did they teach us anything? Are they out of touch with the reality? Although I might have raised more questions than answering them, I hope these questions will stop us for a moment to reexamine ourselves, now. It has been long overdue for us to pay serious attention to this important matter. Music education in Asia will be meaningful only if we use it as a means to transform our students to become, to be, and to build their strong roots, identity, integrity, and humanity with the highest value, esteem, and dignity. Consequently, I materialized my view and points with relevant and specific examples.

PITHI SAMPEAH KROU OR CEREMONY OF PAYING HOMAGE TO THE TEACHER IN KHMER DANCE AND MUSIC

SAM-ANG SAM 아시아음악학회 2003 Asian Musicology Vol.2 No.-

Long-Term Temperature Measurement inside Operating Tunnels during Winter in Gangwon, Korea

Sam Ang Keo,Kyung-Jae Jun,Chan-Young Yune 한국도로학회 2018 한국도로학회 학술대회 발표논문 초록집 Vol.2018 No.05

Tunnel is the main infrastructure in transportation system especially in Gangwon province which has 90% of its area covered by mountains. Responding to the needs for evaluating the tunnel damage in this region, the temperature inside 10 tunnels, one-way and two-way, were measured in winter by using temperature sensors. The temperatures along the length of tunnel, from the entrance until the exit, were obtained from sensors placed at 2 meters above the road. The measurement results showed the distribution of the temperature along the length of the tunnels since November 2016 until March 2017. The data showed that among all the one-way tunnels, the variation of the temperature at all positions along the length of the tunnels have almost the same gradient of temperature of all months observed. There were no significant changes between the temperatures at those points along the tunnel; whereas the changes at the entrances and the exits of the tunnels were remarkable. It was also noticed that there was the different trend of temperature variation between the one-way and two-way tunnels.

LHKAON LHAOL : Masked Play of Cambodia

쌈앙삼(Sam ang Sam) 국립국악원 2010 국악원논문집 Vol.22 No.-

종교와 예술은 크메르 사회의 기초를 형성해 왔다. 그들은 항상 크메르의 삶에 있어 세습적인 부분이었으며, 캄보디아의 역사가 기록되고 기억되는 한, 크메르 문명이 발전과 쇠퇴에 중요한 역할을 해 왔는데, 한 문화는 사람들이 자신의 목표를 규정짓고 추구하는 방식에 영향을 미치기 때문이다. 이제 새로운 천 년이 시작되는 시점에서, 컴퓨터와 기술의 시대라는 시대적 배경에서 크메르 문화의 예술과 형태에 새로운 장이 쓰여질 것이다. 전통성과 현대성 사이의 긴장이 느껴진다. 내 사견으로는 그들 선조들의 문화를 보존하는 것은 현재와 미래의 세대들 몫이다. 진보와 혁신은 전통을 되돌아보고, 연구하고, 이해함으로써 시작하는 것이다. 전통적이라는 것은 후퇴가 아니며, 현대적이라는 것이 반드시 진보된 것은 아니다. 시대 조류에 편승하기 위해 반드시 전통을 깨뜨려야 하는 것은 아니다; 단지 그것을 표현할 현대적 방식을 찾아야만 한다. 이 지구촌 시대에 우리는 범 지구적으로 사고하고 지엽적으로 행동해야 한다. 르카온 카올 혹은 캄보디아의 가면극-크메르의 민속 예술형식-은 모두 남성의 전통이다. 이 가면극에는 네 명의 주요 인물이 등장한다-원숭이, 귀신, 왕 또는 왕자, 그리고 왕비 또는 공주다-모두 남자가 공연한다. 이 인물들 혹은 배역들은 여성 캐릭터들을 제외하고 복잡미묘한 가면을 쓴다. 가면을 쓴 배우들 혹은 무용수(통상적으로 불리는 식으로)들은 말을 하거나 노래하지 않고, 해설자가 해설해 주는 이야기를 연기한다 -레암케르(라마야나)의 독자적 줄거리에 기초한 것이다. 공연에는 삔 삐앗(또한 궁정 앙상블로 알려져 있음)이 연주된다. 이 논문에서 나는 크메르 문화와 삶에 있어서 가면극이 지니는 중요성과 깊은 의의와 더불어, 그 역사와 발전 및 근원을 고찰하고자 한다. Religion and art have formed the basis of the Khmer society. They have always been an inherent part of Khmer life, and have played an important role in causing Khmer civilization to develop and decline as long as the history of Cambodia can be written and remembered, as culture affects the ways in which people define and pursue their goals. As we now start the new millennium, in the context of computer age and technology, a new chapter will be written on art and the shaping of Khmer culture. The tension between traditionality and modernity is felt. In my opinion, it is the responsibility of the present and future generations to keep alive the culture of their forebears. Progress and evolution begin by looking back and studying the traditions, and understand them. Being traditional is not backward, and being modern is not necessarily advanced. To be current, we do not have to break away from tradition; we simply have to find a contemporary way to express it. In this age of globalization, one can think global and act local. Lkhaon Khaol or masked play of Cambodia - a Khmer folk artform - is an all-male tradition. There are four major characters - monkey, demon, king or prince, and queen or princess - all are performed by men. These characters or roles wear intricate and colorful masks except the female characters. Masked players or dancers (as they are normally referred to) do not speak or sing, but enact plots - based on the storylines of the sole story of Reamker (Ramayana) - narrated by narrators. The performance is accompanied by the pinn peat (also known as court ensemble). In this paper, I propose to examine the history, development, fundamentals, including music, and the importance and deeper meaning of masked play in Khmer culture and life. Specific examples, including audio-visual clips, will be presented.

Effect of Acrylate-Cement Grout on the Unconfined Compressive Strength of Silty Sand

Kean-Thai Chhun,이수형,Sam-Ang Keo,윤찬영 대한토목학회 2019 KSCE JOURNAL OF CIVIL ENGINEERING Vol.23 No.6

Chemical grouting has been widely used to ensure the stability and durability of built structures by enhancing the engineering properties of soils. The objective of this study was to investigate the effect of a newly developed acrylate-cement grout, composed of component A (acrylic polymer, catalyst, and hardener) and component B (cement) having mixing ratios varying from 0.5% to 2% of the total weight, on the unconfined compressive strength of silty sand. Three series of laboratory tests (gel time, expansion ratio, and unconfined compression strength) were carried out on reconstituted soil samples with a void replacement ratio of 80% and 100% by acrylate-cement grout. The results showed that the optimum cement ratio of the chemical grout was 1.5% based on the unconfined compressive strength and the elastic modulus for the silty sand with grouting.

황사농도 단기예측모델의 PM10 농도와 실측 PM10 농도의 비교

조창범(Changbum Cho),전영신(Youngsin Chun),구본양(Bonyang Ku),박순웅(Soon-Ung Park),이상삼(Sang-Sam Lee),정연앙(Yun-Ang Chung) 한국기상학회 2007 대기 Vol.17 No.1

생태·자연도 이의신청지역의 원인 분석

정태준 ( Jung Tae-jun ),송일배 ( Song Il-bae ),이지선 ( Lee Ji-seon ),이성제 ( Lee Sung-je ),조광진 ( Cho Kwang-j In ),송교홍 ( Song Kyo-hong ),김기동 ( Kim Ki-dong ),차진열 ( Cha J In-yeol ),조장삼 ( Cho J Ang-sam ),임효선 ( Leem 한국환경복원기술학회(구 한국환경복원녹화기술학회) 2017 한국환경복원기술학회지 Vol.20 No.1

The objective of this study is to seek for improvement measures to make the Ecosystem and Nature Map by analyzing causes for grade changes and distributional characteristics of areas with public objections to the Ecosystem and Nature Map notified by e-official gazette from 2014 to June 2016. The receipt of public appeals has been recently increased from average 23 cases a year(2007-2013) to average 33 cases a year(2014-June 2016) while there were 42 areas with public appeals for less than the minimum area(62,500㎡) for the evaluation of grade of the Ecosystem and Nature Map. Most of the public appeals focused on the 1st grade zone of the Ecosystem and Nature Map. Before grade changes by public appeals, the 1st grade zone of the Ecosystem and Nature Map were 76.0% of the whole areas with public appeals. However, after grade changes by public appeals, it was rapidly decreased to 25.2%, which means that a lot of the 1st grade zone with public appeals were lowered. In the results of analyzing the distributional characteristics of areas with public appeals, they were The objective of this study is to seek for improvement measures to make the Ecosystem and Nature Map by analyzing causes for grade changes and distributional characteristics of areas with public objections to the Ecosystem and Nature Map notified by e-official gazette from 2014 to June 2016. The receipt of public appeals has been recently increased from average 23 cases a year(2007-2013) to average 33 cases a year(2014-June 2016) while there were 42 areas with public appeals for less than the minimum area(62,500㎡) for the evaluation of grade of the Ecosystem and Nature Map. Most of the public appeals focused on the 1st grade zone of the Ecosystem and Nature Map. Before grade changes by public appeals, the 1st grade zone of the Ecosystem and Nature Map were 76.0% of the whole areas with public appeals. However, after grade changes by public appeals, it was rapidly decreased to 25.2%, which means that a lot of the 1st grade zone with public appeals were lowered. In the results of analyzing the distributional characteristics of areas with public appeals, they were mostly distributed in lowland(less than 250m altitude), section with 10~20° slope, and areas close to or within 100m from built-up area. Regarding areas with public appeals, the biggest time difference between the period of the existing research by National Ecosystem Survey and the period of notice after completing the treatment of public appeals was 18 years while areas showing 6-15 years of time difference were about 70%. Thus, there were huge differences in time of research and notice. Also, the biggest causes for grade changes were boundary errors caused by small-scale survey, and then followed by changes in evaluation of endangered species and occurrence of built-up area and damaged land. Analyzing areas with public appeals in each evaluation item of the Ecosystem and Nature Map, vegetation part was 73.0%, and endangered species area was 23.1% while topography and wetland was less.