• (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.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.127-139
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• 2021

This study selected representative musical song genres and suggested the application of vocal scales to demonstrate the various musical genres that appear in the modern musical style. Various genres of music and singing methods appeared according to the change in musical style throughout the early period (the early 1990s), the Golden Age (1940s to1960s), and the contemporary period (1970s to present) of musical theatre. To this end, this study selected Classic Broadway, Contemporary Broadway, Jazz/Blues, and Pop/Rock as representative musical genres as primary categories. In addition, five musicals and five songs that can represent the musical genres were selected as secondary categories. This study then divided the singing styles into Legit from , Pop from , Rock from , Jazz/Blues from , and Hip Hop/Rap from and suggested vocal scales. The analysis of this study demonstrated how various music was used as a material for musicals responding to the needs of the times in musical history and how important it is to develop various singing styles. While this study selected five representative genres and musicals to limit the scope of analysis, it intends to expand the scope through follow-up research. Based on this, it is anticipated that various further research will be conducted to study the diversity of musical vocal education and vocal techniques.

• Proceedings of the Korea Information Processing Society Conference
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• 2015.04a
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• pp.892-895
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• 2015

현재 국내 뮤지컬 시장의 규모는 약 3천억원 정도가 될 정도로 성장했다. 하지만, 외형과 달리, 작품들간의 과다경쟁과 기업간의 부익부 빈익빈 현상, 출연료 상승에 따른 제작비 상승 등의 이유들로 인해, 제작사들이 엄청난 진통을 겪고 있다. 뮤지컬의 흥행을 위해 유명배우나 아이돌스타를 투입하다보니, 제작사들의 재정난은 날이 갈수록 심각해지고 있고, 유명세가 없는 배우들은 점점 설 자리를 잃어가고 있는 실정이다. 이러한 문제를 장기적으로 해결하기 위해서는 해당 공연, 해당 역할에 적합한 전문 뮤지컬 배우를 효과적으로 발탁하여 관객의 지속적 호응을 얻어야 할 것이다. 본 연구에서는 이러한 문제에 초점을 맞추고, 정보통신 분야에서 널리 사용되고 있는 협업 필터링 방법을 적용하여, 효율적이며 적합하게 뮤지컬 배우를 선발하는데 그 목적을 둔다.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.504-512
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• 2016

This study was performed to explore the institutional treatment system by analyzing the pattern of musical actor's projection and aftereffect subsequent to the completion of performance. In-depth interviews were conducted with 22 top-class musical actors and actresses of the Republic of Korea. The result of the survey indicated that most actors and actresses suffer from projection and it's aftereffect such as depression for more than one month after performance, and that they tend to rely on self-healing based on self-diagnosis rather than seeking for professional counselling. The symptoms of projection were shown more strongly when the actors or actresses were taking on the role of main character, or acting as a negative or realistic character, or when expressing strong and extreme emotions. In this era of Korean culture, the result of this study implies that our country have to establish the actor's mental caring-related new law and private care centers supported enough funds to encourage the actors to receive more effective actor-friendly treatment service before and after the performance.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.9
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• pp.450-457
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• 2020

This study investigated the effects of music and actor evaluation on musical watching intention by performing a survey on 187 undergraduate and graduate students in Korea and China. Controlling respondents' gender, major, interests on arts, annual number of musicals attended and musical participation motivation grouped by music and actor, we found three things. First, a high evaluation of music and actor leads to high watching intention. Second, when a person is motivated by music, high evaluation on music increases the watching intention, but this is not the case for the actor. Third, Chinese people do not show any interaction effects of watching motivation between musical evaluation and watching intention. In conclusion, people are found to have a greater musical watching intention when they are motivated by music and evaluate high on music, rather than when they are motivated by the actor and evaluate high on actor. Also, the differential effects of evaluation on the musical do not exist in China, where a different musical participation culture prevails.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.91-102
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• 2020

The purpose of this study is to analyze musical songs from an academic perspective by applying vocal techniques that can express songs in depth in three dimensions. Singing a musical song cannot be completed with just the musical part, rather, it should be accompanied by the analysis of various aspects such as the emotional state of the scenes and the characters. To this end, this study performed a multi-dimensional analysis of fields such as theatrical structure, lyrics, musical structure, and dynamics. In addition, the study explored and applied Estill Voice Training(EVT) that actors can best express songs with the emotions of the theater and music. EVT categorizes voice into six tones: speech, sob/cry, falsetto, twang, opera, and belting. In this study, in addition to these six sounds, the positions of vocal cords and larynx were also applied to seek ways to effectively express songs using "Gar Nichts" from the musical "Elisabeth" as a case study. "Gar Nichts" is a song sung by the protagonist Elisabeth, which expresses the self and the conflict at the peak of pain. Musically, this song requires various sound and voice-changing techniques to cover the range of "G#3-Gb5." As a result, it was confirmed that in order to embody the emotions of the characters and the songs in depth, the analysis of scenes and characters as well as various singing techniques need to be applied in harmony.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.251-262
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• 2020

The purpose of this study is to analyze musical styles emerging in modern musical history from the perspective of integration and deconstruction, and to academically investigate the characteristics contained in each style. The style of musicals can be divided into periods of non-integrity, integration, deconstruction, and convergence. The rise of musical styles and the associated meanings can be studied from the perspective of modernism and postmodernism. In modernism, the energies of 'integration' and 'concentration' form the major trend while in early postmodernism, the powers of 'deconstruction' and 'dispersion' play the main role. Late postmodernism is a dialectic result of both trends in which the philosophy of 'convergence' and 'harmony' operates as the main theme. The principle of integration and deconstruction, which forms the base of musical creation, emerged after the development of the unstable style of non-integrity in the early days of musical. Later, with the advent of Rogers and Hammerstein II, the principle of integration was established for book musicals, emphasizing the linearity of drama, and the principle of deconstruction was born for concept musicals to contain new contents. The 'convergence' found in later musical works turn the theme from non-integrity to integration, and from deconstruction to integration again, which indicates that integration is embracing the concept of deconstruction again in a more advanced sense. Such convergent compromise that constantly influences each other and develops in a better direction can contribute to the development of musical styles.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.676-681
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• 2018

This paper is designed to address the extent of impacts that religious musicals may have upon on audience in contrast to the mainstream musicals by exploring choice attributes of Christian musicals, which are based on the stories of the Bible. Through empirical analysis, the paper shows that there is positive correlation between choice attributes and viewing satisfaction, while explaining choice attributes' impact on behavioral intention of audience, typically in word-or-mouth intention. It further shows that choice attribute of Christian musicals have direct positive impacts on both of behavioral and word-of-mouth intentions, which revisit intention is positively related to its reputation and the performance place. This study's significance lies in the use of Christian musicals to explore the complex interactions between choice attributes and audiences' behavioral intentions afterwards. However, it will also further benefit if future research include further mediating, control variable, including non-Christians.

• (The) Research of the performance art and culture
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• no.19
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• pp.221-280
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• 2009

This thesis is a study of the rise and the characteristic of 'Hyangto Gakeuk(literally Song drama of the country or local music drama)' in the Early 1940s. During the colonial period, there were attempts to incorporate traditional Korean music elements with Western operatic form. This type of music drama with librettos based on traditional tales came to be known as 'Hyangto Gakeuk'. Mostly 'Hyangto Gakeuk' has led this effort under the director Seo Hang-Suk, the composer Ahn Ki-Young and the lyricist Seol Eui-sik. In the first chapter, the study aims at arranging the performance history of 'Hyangto Gakeuk' composed by Ahn Ki-Young. Also, the study examined representative works after classifying 'Hyangto Gakeuk' performed by Lamila Music Drama Troupe, and Bando Music Drama Troupe. There is significant meaning to evaluate 'Hyangto Gakeuk' in the history of Korean music drama through this analysis of the performance history. In the second chapter, I will analyze with representative works composed by Ahn Ki-Young, a pioneer in the Korean art song. He tried to create the music that held the nationalism and tradition. His works which were called 'Kageuk' laid down the foundation of Korean original operatic style. This study demonstrated characteristics of 'Hyangto Gakeuk' as 'the beginning' in modern musical drama history and its effects on Korean musical drama developments. Namely, 'Hyangto Gakeuk' based on Korean traditions can be seen as examples of original modern musical in Korea. Practically, study on all the aspects of performance not only text generally studied, dramaturgy and criticism, but also performance concept and intention of creators in early period.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.45-54
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• 2021

Jeong Sun-Ah built up her performance career for twenty years with bold and energetic acting and solidified her status as a leading actress of Korean musical since her debut. To benefit from the value of her experience this study performed an in-depth interview with her, applying the Theory of "Projection" and "Back-projection", which are the psychological principles of acting, and derived "acting(entering the roles)" and "de-acting(leaving the roles)" techniques. As result, Her acting mechanism involved emptying her ego, embodying a persona by projecting the role created by intensive exploration of materials like previous performance, film of the same title, original novel, and script, and then getting the ego back by back-projecting through dynamic activities such as overseas travel and dance. She pre-studied the roles by physically visiting sites that are important to the characters. She was unique in that she pursued a difference by changing vocal trainers for each musical production and undertook more intense physical training than vocal practice to achieve powerful singing performance. In most of her works (75%), she suffered from aftereffects such as depression, narcissism, hysteria, and insomnia due to disorder caused by breaking away from the roles. However, she relied on self-help and alternatives are needed in the future such as reinforcement of expert counselling. Jeong Sun-Ah appeared on an average of 1.6 productions per year, practiced for an average of 1.7 months, and performed for an average of 3.9 months with an average of 100 days of break between productions. Her performance record from this research demonstrates her constant preparation and passion, as well as the know-how of reserving and distributing energy. So, it has a valuable implications for acting education and self-management of actors and actress.