• Trans-
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• v.8
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• pp.55-78
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• 2020

Among various tools for pop music composition, what is most frequently used by K-Pop composers is the digital sequencer program, or DAW software (Digital Audio Workstation). When it comes to making commercial music such as K-Pop, the proportion of using these programs is extremely high. By using those software, composers come to undergo an entirely different art creation process. User interface (UI) of the DAW software has a profound effect on the process of making music, particularly vis-a-vis usability and visibility. This study is an attempt to analyze the Avid Pro Tool's UI with a focus on its inherent characteristics revealed in relation with the real effect throughout music composition. This study categorizes the UI elements in the Edit Window of the Pro Tools as Grid, Track, Slip, Clip, and Fade. Those categorized elements would be analyzed through Douglas Morgan's Creative-Process theory, thereby clarifying how visual interface of the DAW software functions in music composition practically.

• (The) Research of the performance art and culture
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• no.37
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• pp.249-293
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• 2018

The Musical Theatre was a popular art genre that originated from the western musical tradition represented by the European opera. In the twentieth century, it bloomed around Broadway in the United States. It is also one of the commercial arts which is popularly loved by the public in the field of performing arts all over the world at present. Due to the nature of this genre, the development of dramas and the expression of characters use music, not words or gestures, as the main medium. And the style of music reacts sensitively to the taste of the public, not to a particular class. When Japan colonized Korea, the empire strongly believed modernization equaled westernization and Japan was the one who could awaken Korean. The Japanese colonial music education was intended to bring cooperation and obedience to Japan by forcibly injecting Japanese ideology and culture into Joseon people. The music education of colonialism with the textbook of the "Songs for public education(보통교육 창가집)" compiled by the Japanese government was a sparkstone for the conversion of the Korean musical identity to Japanese and Western music. In addition to the capitalistic economical mechanism for establishing a South Korean government friendly with the United States during the Cold War after liberation, and the rush of American Pop culture represented by 'the show stage in 8th US Arm' and 'movies' which are to be the influence of invisible 'new cultural imperialism', our traditional music was confined to the meaning of 'Korean music', meaning 'past music'. In Korea, after the liberation, the musical was introduced by the influx of American popular culture. In accordance with the cultural policy of Park Jeong-hee regime, which aimed to spread the 'healthy culture' through the modernization of traditional arts, 'The Yegreen(예그린악단)' was founded. However, the plan to create a contemporary performing art based on Korean national arts showed the possibility of success in 1966 with the success of , but soon after, they have been destined to fall into an institution that has lost their ability to operate on their own due to the suspension of the sponsorship of the regime. Due to the cultural imperialist strategy of the influence of Japanese imperialism's colonial music education and influx of American popular culture after liberation, in the early days of Korean musicals, our traditional aesthetic style brought about the situation of the 1960 's, which did not become an independent ethnic art through the exchange and expansion with Western music. This is the background of the western licensed musicals led by the Korean musical market in the 21st century as well as the main cause of musical creation based on western music.

• Proceedings of the KAIS Fall Conference
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• 2010.11b
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• pp.539-541
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• 2010

20세기 전반에 가장 미국적인 작곡가라 불리는 거쉬인은 대중음악과 고전음악이라는 양분법이 아닌 두 가지가 적절히 조화된 작품들을 많이 작곡했다. 그 중 "랩소디 인 블루"는 가장 널리 알려지고 사랑받는 곡이다. 항상 새로움을 추구하고 배움을 게을리 하지 않았던 거쉬인의 작곡활동은 그 시기에 따라 약간씩 변화 되었다는 것을 알 수 있다. 이 논문에서는 가장 대중적으로 인기를 얻은 랩소디 인 블루를 작곡했던 시기인 1924~1930년까지의 작곡활동에 대해 알아보고자 한다. 그리고 이 시기에 작곡했던 주요 곡들에 쓰인 음악적 스타일과 그에 대한 특성에 대해 알아보도록 하겠다.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.93-94
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• 2014

본 논문은 음악과 감성에 대한 논문이며 다양한 인간의 감성 중 어두운 감성에 대한 연구이다. 이에 따른 가사에 대한 감성표현과 음악적 요소를 활용한 감성표현의 효과적인 방법에 대해 연구하였으며, 어두운 감성을 표현하기 위하여 다양한 요소들이 발견되었다.

• Proceedings of the KAIS Fall Conference
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• 2011.12a
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• pp.43-45
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• 2011

본 논문에서는 1970년대 한국 대중음악의 주류 역할을 담당했던 포크음악의 태동과 발전을 이끌어 낸 번안가요와의 관계를 연구하고자 한다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.10
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• pp.104-108
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• 2016

African-American music heavily influences a variety of musical genres, including folk music, jazz, rhythm and blues, soul, and funk music. The music derived from traditional African music with its unique syncopated rhythm using a five-note pentatonic scale, and has developed through significant influences from gospel music. African-American music has also evolved through historical social movements, such as eliminating the racial discrimination, and has been influenced by the personalities of different cities in the United States. Modern music features fusion with elements of Western music. One of the most influential and respected artists of the 20th century was Stevie Wonder, who was known as "Father of African-American music." He was an accomplished artist, winning numerous awards despite being disabled. He has become one of the most famous and respected artists worldwide. This study of Stevie Wonder's life, music, and spiritual strength, aims to highlight his significant achievements and contributions to pop music. This is a study based on an analysis of the work of Stevie Wonder and describes how elements of African-American music influences current Korean pop music and musicians.

• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.63-73
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• 2021

This study aims to analyze music of Yoon-sang, as a part of musical research, which is the most fundamental approach among academic studies on Korean popular music. Yoon-Sang is a representative composer, who has gone through the 1980s to the present. The result of analysis of 21 songs created by Yoon-Sang showed that his songs are mostly characterized by tonal music, in which chord relationships develop focusing on keynotes. The reason why his music does not sound uniform pursuing stability is he properly added the progression of chromatic chords, based on diatonic chords and melodies. Dominant 7th chord and diminished 7th chord are used the most among diverse techniques adding chromatic colors. Along with these chords, chromatic intervals are used not only in chord progression but also in melodies. The successive, ascending or descending movement of the base line is his common composition and arrangement technique revealed in every song. One of formal changes with the stream of the times is that the number of measured in the pre-chorus and interlude that were of great importance in his songs of the 1990s decreased over time. With regard to harmonic changes, whereas modulation between parts was applied to his 2 songs created in the 2010s. Yoon-Sang's music had one strong tonality overall, but his music began to have more than two tonalities starting the 2010s, and this is a big variation in his music.

• Proceedings of the KAIS Fall Conference
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• 2009.05a
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• pp.208-211
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• 2009

발성법은 좋은 목소리로 크고, 아름답게 노래를 부르기 위한 훈련 방법이다. 그러나 결국 이러한 발성의 표현은 무대 위에서 이루어져야 한다. 성악이나 판소리의 경우는 주로 정적인 상태에서의 감상을 위한 음악인데 반해 대중음악은 동적인 상태에서 관객과 함께 즐겨야 하는 경우가 대부분이다. 따라서 대중가요 가수들에게는 관객과 함께 호흡하며 노래하되 절대 흥분하지 않는 상태에서 올바른 발성을 해야 하는 냉정함이 요구된다. 발성은 노래를 부르기 위한 사전과정이며 가수는 무대에서 노래를 해야 한다. 따라서 좋은 노래를 부를 수 있도록 기초 과정을 거쳐 만들어진 발성을 올바르게 노래에 표현하는 방법을 연구해보도록 하겠다.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.247-248
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• 2019

한국대중음악 가사에서 나타나는 나르시시즘의 변화를 살펴보았다. 노래가사 분석은 2011년 1월부터 2018년 12월까지 멜론차트 20위권 이내로 한정하였으며, 전체 가사분석 대상으로 하였다. 이 결과로 통해 자기애가 팽배해지고 심화되고 있는 흐름들이 가사에 나타내고 있고, 성별에 따른 나르시시즘의 유형이 서로 다르게 표현되고 있음을 파악할 수 있었다.

• The Journal of the Korea Contents Association
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• v.17 no.7
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• pp.600-609
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• 2017

The purpose of this study is to investigate the perception of Pansori non-Specialist After reviewing the need for content development and conducting interviews with Pansori Specialist, the contents of popular Pansori contents It is aimed to derive basic data necessary for development. First, in order to examine the necessity of development of popular Pansori contents, 100 Pansori non-specialists surveyed through the experience of the same popular Pansori Contents revealed that the contents of popular Pansori showed a new aspect of Pansori and it is necessary to develop popular Pansori contents. it is necessary to secure popularity, fun and interest, Convergence with other genres, intrinsic troubles about Pansori, Expansion in to traditional arts, materials suitable for trends, development of lirics, language, music, and professional producers should be considered. Second, As a result of conducting interviews 31 Pansori Specialist in order to provide basic data necessary for the development of popular Pansori contents, its essential to develop popular Pansori contents. and analysis of the public, endless challenges and attempts, material development collaboration with professional worker and expansion.