• The Journal of the Korea Contents Association
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• v.17 no.2
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• pp.149-159
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• 2017

South Korea and Japan are closely located in the Chinese character cultural area, so we have developed our culture not only with many similarities but also with own distinct ways. These were also in adoption and development of Western music. Unlike Korea, Japan is showing its potential through Opera 'Yuzuru'. Even though opera is Western music style, communicating Asian culture through their own language is one of the important issues to secure status as a cultural power in the world. As the field of opera is expanded to media entertainment with the development of digital technology, it is necessary to compare the development process of Japanese and Korean opera, which used contemporary opera as a tool of communication between cultures, It will help to develop into performing arts contents.

• Proceedings of the Korea Society of Costume Conference
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• 2005.05a
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• pp.63-63
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• 2005

• The Journal of the Korea Contents Association
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• v.13 no.9
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• pp.72-80
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• 2013

A common fallacy found at opera works is to lean either toward 'opera as drama' or toward 'opera as music'. One of the historical examples of opera creation to overcome this fallacy is Puccini's $\grave{e}$me>. The composer Puccini and the librettists, Illica and Giacossa, found balance between these two extreme poles, which was made possible by keeping the color of the original novel "scenes de la vie de boh$\grave{e}$me" and simultaneously by reconstructing the most operatic characters and story. Their strategies, which can be summerized as 'simplification', 'romanticization and re-creation of characters', and 'realistic description of original atmosphere'. There strategy of adaptation and the 'episodic' feature as the outcome can be a good example for creators of new opera works.

• Cartoon and Animation Studies
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• s.51
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• pp.1-33
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• 2018

In contemporary performance arts, we can see diverse types of performances that use advanced technology and visual media. It is notable that animation based on narratives and images, is grafted on to performance arts. Cases emerge that introduce animation in opera performances as part of a new stagecraft. Regietheater that turns on directors' interpretation, has been expanded in full scale through major music festivals and theaters through many different attempts to embody. In this state, recently visual media have been actively employed in opera performances. It has led to expansion of time and space along with more attempts. Not least of all, introduction of animation has been conducive to reinforcing functionality of opera performances in many aspects. This study suggests requirements for ideal Regietheater production in opera performances. For this end, the functions of animation strategically used are evaluated through analyzing $Zauberfl{\ddot{o}}te$)> production of Komische Oper Berlin. Through this research, this study is to look deeply into effects created from new and different attempts by grafting animation on to opera performances.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2004.05a
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• pp.687-687
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• 2004

예술의 전당 하부를 통과하는 우면산터널은 예술의 전당 자료관, 오페라하우스, 음악당, 서예관, 미술관 등의 건물과 인접하여 설계되었다. 이들 건물은 진동의 전달경로에 따라 구조-구조의 전달경로인 자료관과 구조-지반-구조의 전달경로인 오페라하우스, 음악당, 서예관으로 분류할 수 있다. 자료관은 하부의 기조 중 일부가 우면산 터널의 통과를 위해 설치한 박스(box) 터널 상부와 구조계를 형성하고 있고, 오페라하우스와 음악당 및 서예관 주변으로는 우면산 터널의 상행선과 하행선이 각각 인접하여 통과하는 구조계를 형성하고 있다. 본 연구는 서울시 서초구 서초동～우면동에 이르는 우면산 터널에 실험 차량이 통과할 때 차량 통행으로 인해 발생하는 진동이 예술의전당 자료관, 오페라하우스, 음악당, 서예관 등의 건축구조물에 전달되는 고체전파음의 발생특성 파악하고, 예술의전당 통과구간에 방진패드에 의한 도로포장 공사 후 그에 대한 효과를 비교하였다. 또한, 우면산 터널 예술의 전당 통과구간에 대하여 다공성 아스팔트로 도로포장한 후 그에 대한 효과도 파악하였다.

• 베이커리
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• no.7 s.432
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• pp.98-99
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• 2004

• 베이커리
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• no.1 s.402
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• pp.112-113
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• 2002

• The Journal of the Convergence on Culture Technology
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• v.8 no.2
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• pp.281-289
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• 2022

Our society is rapidly changing with the core technology of the 4th industrial revolution, the emergence of a generation with new characteristics, and the untact era following the With Corona policy. Although the transition to untact is accelerating in the field of performing arts, in the case of opera, face-to-face performances are mainly conducted by experts and enthusiasts through on-site performances. Therefore, it is necessary to consider the uncertainty of creating opportunities through the influx of new customers such as the MZ generation and the departure of existing experts and enthusiasts. In this study, in order to examine these existing problems, we conducted literature review and case analysis, compared the opera face-to-face/non-face-to-face performance characteristics, derived an activation plan, and conducted expert interviews to secure the coherence and validity of the plan. In conclusion, we thought that it was difficult to improve the sound and sound quality, impairing the sense of presence and emotion due to many shortcomings when operating non-face-to-face as a music genre with the characteristics of opera. Therefore, we established the direction of activating the opera mainly face-to-face, but making good use of the advantages of non-face-to-face, which is not limited by region and time, and promoting the direction of activating face-to-face and non-face-to-face performances complementary to each other through the concept of cultural enjoyment.

• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.151-160
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• 2020

In the past, musicians followed strict patterns written by composers when playing classical music. However, since the development of postmodernism, which puts an emphasis on unique individualities and various ways of thinking, following the strict patterns of classical music unquestioningly became less significant. Classical music was thought to be difficult to follow and enjoy for most people. Thus, musicians have found ways to keep the dignity of classical music but added familiarity in order to popularize arias in operas. They created classical crossover music and this type of music enabled people to enjoy easy access to classical music. However, not many studies focus on arrangement methods of changing classical music into crossover music. The goal of this study is to research on arrangement methods of crossover music based on the findings from precedent researches on operas. This study focused on analyzing musical structure including chords, rhythms and compositions of musical instruments. According to the analysis, original classical songs and popera, which is a type of crossover music, share similarities in terms of rhythms and chords. However, there are differences when it comes to compositions of musical instruments. In case of a jazz version, it uses AfroCuban rhythm as well as Bolero rhythm which is a part of ballad and jazz acoustic instruments are mainly used. Also, in order to reduce the feeling of classical music and to differentiate the jazz version from the original version, a lot of tension is used in voicing. This study can be helpful for any researches related to arrangements of classical crossover music.

• Korean Architects
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• no.3 s.335
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• pp.70-71
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• 1997