Regarding the Forty-eight Poems of Soswaewon by Haseo Kim In-Hu, this study examines the soundscape's sound source type and receiver setting at the time of Soswaewon Garden landscaping and how the function and meaning of garden sounds are produced and expressed through literature and on-site survey. The main results of the analysis are as follows. Regarding the soundscape’s main receiver setting in Soswaewon Garden, area at stream garden, Chojeong, Jewol Pavilion, and Gwangpung Pavilion and a display stand were identified, and a combination of various forms of water sounds and artificial sounds around the mountain stream and musical panorama of nature are the sources of sound. Diversity Soswaewon’s soundscape acts as an important landscape resource for playing, sightseeing, and appreciating Soswaewon Garden. In the Forty-eight Poems of Soswaewon, the methods of enjoying the landscape were the act in which the scholars’ view of life and nature are contained at the time of garden landscaping. Therefore, it is of great significance. The Forty-eight Poems of Soswaewon is a textbook about old scenery in which real landscape and semantic landscape are substituted by connecting various sceneries of the season to scholars’ experience of taste for the arts through borrowed scenery and borrowed sound. The soundscape in the Forty-eight Poems of Soswaewon intactly contains the taste of entertainment in appreciation of the garden’s scenery of the season and scholars’ self-cultivational practice for mind and body called self-projection and reflection by having the flow of the mountain stream as the focal point of the garden. The fact that Soswaewon’s soundscape was of as great importance as visual landscape implies that it has significant implications for modern landscape design.

1. Introduction
 2. Literature Reviews
  2.1 Research Trend
  2.2 Understanding Soswaewon and 48 poems
 3. Methods
 4. Results and Discussions
  4.1 Shape and Structure of 48 Poems’Soundscape
   4.1.1 Soundscape’s type
   4.1.2 Soundscape’s receiver setting and soundsource
   4.1.3 Soundscape’s production and enjoymentmethod
  4.2 Function and Meaning of Soundscape
   4.2.1 Function of soundscape
   4.2.2 Meaning of soundscape
 5. Conclusions
 References

• Jaehyun Rho(Dept. of Landscape Architecture, Woosuk University)
• Gayoung Han(Dept. of College of Art & Design, Kyung Hee University) Corresponding author