• Journal of Gifted/Talented Education
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• v.27 no.1
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• pp.81-96
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• 2017

This study was to examine the passion profiles and direct, indirect, and total effects of music valuation(MV), passion for music (i.e., harmonious passion, obsessive passion), and satisfaction in music(SM) on music accomplishment(MA) of musically talented high school students in Korea. Of the 599 musically talented high school students surveyed from Gyonggi, Chungnam, and Busan in South Korea, 524 completed and returned the questionnaires yielding a total response rate of 87.48%. Students with high harmonious passion(HP) and high obsessive passion(OP) were classified as high passion students(Nhigh passion=228), where as those with low HP and low OP were classified as low passion students(Nlow passion=5). Students with high passion had higher MV and higher SM than those with high HP or low passion. Moreover, those with high passion had higher music accomplishment than those with high HP, high OP, or low passion. Students with high HP had higher MA and SM than those with low passion. MV affected MA through both HP and OP, and also SA. HP and OP also affected MA and SA. SM directly affected MA. Total effects of HP on MA were higher than those of OP, SM, and MV. The indirect effect of HP on MA were higher than those of OP. Findings indicated that the more students have a HP, the more they showed higher SM and MA when they engaged in music activity with higher MV. Future research is need to replicate these findings with professional musicians at higher levels of expertise.

• Journal of Gifted/Talented Education
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• v.20 no.3
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• pp.947-966
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• 2010

This study was to examine whether musically talented adolescents' passion and achievement goals influence their deliberate practice. Of the musically talented adolescents surveyed from two arts high schools in Seoul, Korea, 597 completed and returned the questionnaires. Their average age was 17.4 years. Paired t-test on musically talented adolescents' passion(i.e., harmonious passion, and obsessive passion) and achievement goals(i.e., mastery goals, performance-approach goals, and performance-avoidance goals) indicated that harmonious passion were higher than obsessive passion. Mastery goals were higher than performance-approach goals. And performance-approach goals were higher than performance-avoidance goals. Independent t-tests were measured between high and low deliberate practice(DP) groups. High DP group showed higher harmonious and obsessive passion, and mastery and performance goals than low DP group. It was also found that two types of passion(i.e., harmonious and obsessive) positively influenced on deliberate practice via mastery goals.

• 주택과사람들
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• s.194
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• pp.62-65
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• 2006

'음악을 좋아한다'는 단순한 말로는 부족하다. 오케스트라의 작은 악기 소리까지 놓치지 않기 위해 몇 번이고 오디오를 손보는 그의 정성은 '음악'보다 더 작은 단위인 '소리'에 대한 열정이라고 말할밖에. 소리에 관한 예민한 감성과 청력을 가진 남자, CNP차앤박피부과의 심재홍 원장을 만났다.

• 월간 기계설비
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• no.12 s.221
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• pp.24-27
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• 2008

정승일 회장을 아는 사람들은 그를 '르네상스맨'이라고 부른다. 설비건설업계 뿐만 아니라 음악을 비롯한 다양한분야에서 다재다능한 재능을 보여주었기 때문이다. 정승일 명예회장은 대한설비건설협회 제5대 회장이자, 금탑산업훈장 수훈의 주인공이며, 국립합창단 이사장, 매년 연말이면 열리는 솔리스트앙상블 대표이기도 한다. 또 11월14일에는 한국산업경영시스템학회가 수상하는 제 1회 '산업공학을 빛낸 경영인'상을 수상했다. 이런 그가 (재)세일음악문화재단을 설립하고 지난 11월 1일 호암아트홀에서 설립 기념음악회를 개최했다. 성악가를 꿈꾸었던 소년의 못다이룬 꿈이 이루어지는 순간이었다. 정승일 명예회장이 살아왔던 삶과 열정을 조명해 본다.

• Proceedings of the Korea Contents Association Conference
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• 2012.05a
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• pp.307-308
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• 2012

인간은 음에서도 색을 느낄 수 있다. 그리고 청각을 통하여 음의 높고(고음), 낮음(저음), 장(길고), 단(짧음), 맑고, 탁함에 따라 색을 다르게 느낄 수 있다. 이러한 현상을 색청(色聽)이라고 한다. 소리와 색의 연관성에 대하여 선행 연구를 고찰한 결과 색의 3속성 색상, 채도, 명도는 음악의 음계, 옥타브, 음색과 연관성이 있었다. 그리고 음악의 리듬은 조형의 공간, 형태의 조화와 반복이 유사하다는 것을 알 수 있었다. 본 연구는 에드워드 마이언(Edward D. Maryon)의 마르코톤의 음과 색의 이론을 바탕으로 뉴턴의 색채와 음계로 경상도 민요 밀양아리랑의 색채를 분석하였다. 분석 결과 밀양아리랑 음의 빈도에 의한 색채는 Blue Violet, Green Blue, Red, Yellow, Orange의 순으로 색채를 추출할 수 있었다. 추출된 색에서 연상되는 형용사 이미지는 힘, 정열, 인내, 열정, 진취적인, 우호적, 야망, 불꽃 등으로 경상도 지역 이미지로 연관 시킬 수 있다. 본 연구는 경상도민요 밀양아리랑의 음을 분석하여 색의 연상이미지와 지역 색을 찾는데 그 의의를 두었다.

• 한국벤처창업학회:학술대회논문집
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• 2021.04a
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• pp.119-123
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• 2021

수많은 예술 관련 분야 대학 졸업생들과 예술가들은 많은 시간과 열정을 투자하여 예술 공부와 창작활동을 하지만 창작물을 통해 수익을 창출하는데 많은 어려움을 겪고 있다. 최근에는 이런 문제를 해결하기 위해 많은 예술 플랫폼 창업 기업들이 생기고 있으며 이 기업들은 수익 창출이 어려운 많은 예술가들에게 수익 창출의 기회를 제공하고 있다. 예술가들의 창작물인 그림, 글, 음악, 패션 등을 사업화하여 수익을 창출하는 예술 플랫폼 창업 기업은 그림 대여 및 판매 플랫폼, 예술가 창작물 상품화 플랫폼, 예술 크라우드 펀딩 플랫폼, 공연 전시 플랫폼 이렇게 4가지 분야로 분류해 볼 수 있다. 또한, 국내 창업 생태계의 발전과 함께 예술 플랫폼 창업 기업에 대한 관심이 더욱 증가하고 있지만 예술 플랫폼 형태 분석 및 사례 적용 연구는 미흡한 실정이다. 따라서 본 연구는 예술 플랫폼 창업 기업 형태를 분야별로 분석하여 예술 플랫폼 창업을 준비 중인 예비 창업자들에게 향후 예술 창업 전략 수립에 있어 시사점을 제고시하고자 한다.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• The Journal of Natural Sciences
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• v.9 no.1
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• pp.113-129
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• 1997

Postmordern style showed in contemporary fashion is various. Specially, street style begins from teddy boys, mods, hippy, skin head & popular fashion. They are come from mass culture. Mass culture dominated in many ways in modem society. In music, cinema & other plays we can read of youth. Street style includes youth culture about their fear and resistance and their passion. We can see kich in aetheics of street style as it was showed in mass culture. They are as follows. ${\cdot}$ Wit and sympathy expressed in primitivism. ${\cdot}$ Sensuality expressed in erotism like shows in works of Vivian Westwood & Zandra Rhodes. ${\cdot}$ Fantasy expressed cyber & psychidelic fashion.