• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.33-43
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• 2021

The purpose of this study is to examine the transformation and characteristics of the Verse-Chorus form. The musical form of a musical song is a structural mechanism for expression to effectively convey the dramatic situation of the characters to the audience. This study identified four types of representative forms that can be used to explore the transformation with the verse-chorus form and examined their characteristics. First is the Verse-Chorus form which repeats the description of simple situations and characters in the early stage of the musical. Second is the Verse-Bridge-Verse form which is used to evoke the atmosphere and escape boredom through a slight transformation of the bridge while explaining a simple character. Third is the Verse-Prechorus-Chorus form, which sits just before the chorus, connects the verse and the chorus, and promotes the emotional rise of the characters by smoothing the drama and the harmonic progression. Lastly, this study examined the expanded Verse-BG dialogue-Chorus form used to represent the situation in which conflicts about the complex feelings of the characters and the decisions about them coexist. As such, musical songs use various types of verse-chorus forms. Through the formality and transformation of the verse-chorus, the logic of the music and the logic of the drama are balanced so that the development of the music and the drama does not enter the state of imbalance. Based on this study, further progressive research can take place on the correlation between musical form and dramatic structure, beyond the transformation of musical song form.

• 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.