• 한국벤처창업학회:학술대회논문집
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• 2022.04a
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• pp.57-63
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• 2022

최근 세계적인 경제성장률의 둔화에 따른 청년층의 취업난이 공통적인 문제로 주목받고 있다. 우리나라의 경우 청년 고용률은 OECD국가의 2019년 평균 고용률에 비해 10%이상의 낮은 수준으로 나타나 청년층 취업난의 심각한 수준을 나타내고 있다. 이에 대한 해법으로 청년 창업이 오랜 기간 동안 장려되고 있으며, 대학을 중심으로 창업교육이 이루어지며 대중적인 교육으로 자리매김하고 있다. 대학에서의 창업교육의 효과 및 필요성을 확인하는 다양한 연구가 활발하게 일어나고 있음에도 창업에 대한 인식과 창업률은 생계형 창업이 주를 이루고 있다. 이에 본 연구에서는 창업에 대한 관심을 가지는 순간부터 창업 이후에도 직면하게 되는 불확실한 현실과 이를 둘러싼 환경적 난류를 해결해 나갈 수 있는 감정적 관점에서의 창업교육의 효과성을 확인하고자 한다. 감정요소 중에서는 창업열정과 즉흥성을 매개효과로 창업의도에 미치는 창업교육의 영향을 확인하고자 하였다.

• Journal of Music and Human Behavior
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• v.9 no.2
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• pp.53-67
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• 2012

Improvisational music therapy is known to promote social engagement in children with autism. This study investigated salient features that characterize the engagement of the child with autism and the therapist in improvisational music therapy. Through video analysis of the children's behavior, this study sets out to investigate what engages children with autism into mutual play with the therapist in improvisational music therapy by measuring the shared musical elements between the child and the therapist during musical synchronicity episodes and the children's choice of instruments. A repeated measures, a crossover design was employed in two different conditions (n = 10). Children were randomly assigned into two groups; group 1 participated music therapy first, followed by play therapy second. Group 2 followed the reverse order. Specific target behaviors were analyzed in the selected sessions 1, 4, 8 and 12. As expected, improvisational music therapy produced markedly more and longer events of musical synchronicity in children with autism than the play sessions with toys (p < .001). Rhythm and dynamic appeared to be the two most salient elements during musical synchronicity events between the child and the therapist. Observational findings confirmed that horns and whistles were the most frequently selected instruments in music therapy, whereas a dollhouse set was in play therapy by children with autism. The clinical implications and the details of these findings are discussed further.

• Proceedings of the KAIS Fall Conference
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• 2011.12a
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• pp.7-10
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• 2011

본 논문에서는 19세기 이후 클래식음악에 영향을 미친 재즈음악과, 클래식음악이 어떤 방식으로 재즈라는 음악을 음악적 표현 도구로 사용했는지를 살펴보았다. 재즈는 현대 클래식음악에 즉흥성, 창의성, 독창성 등의 다양한 측면에서 영향을 주었다는 점이 두 음악 장르의 상호 영향을 살피는데 중요한 점이라고 할 수 있다.

• Journal of Music and Human Behavior
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• v.11 no.2
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• pp.1-18
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• 2014

This study investigated the performance patterns in percussion improvisation of adolescents with behavior problems. A total of 40 middle school students participated in this study. Based on prescreening test results, the participants were assigned to either the impulsive tendency or depressive tendency groups. Both groups received two 45-minute group percussion improvisation. During the improvisation, all playing behaviors were recorded and analyzed in terms of rhythm pattern, instrument selection, intensity, and tempo of performance and performance duration. The results showed that while they were differences in improvised rhythm patterns between the two groups, the groups showed a similar tendencies in their instrument selection. With regard to performance parameters, the two groups showed significant difference in the tempo and duration of performance, but no significant difference was found in terms of intensity. This indicates that adolescents who exhibit behavior problems may be different in their playing patterns depending on their behavioral tendencies. Based on the results, music therapists can have a better understanding of how musical features expressed by this population relate to their inherent emotional and behavioral traits and how therapists should facilitate musical expression of these adolescents to address their needs.

• Journal of Korea Game Society
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• v.16 no.2
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• pp.75-86
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• 2016

Game studies of theatrical approach explained interactive property of game in humanistic background. Those studies analyze the game, and based on Aristoteles Poetic Attribute. But theatrical approach has a problem by user's unpredictable intervention in narrative (Active narrative). This paper intended to see in the glance of any impact on the Aristotelian model by active narrative. As a result of the active narrative remake the causality between materials of drama. Also, it can be seen to define a kind of the "Improvisation" in theatrical view. But it exposed a essential difference in the form an expression by substance and material of media. It was defined forms of improvisation in the gaming environment which are 'Self-generated Individuality', 'Self-definition Faction', 'Eccentric Behavior Contending', 'Trolling' and 'Bug Play'. Finally this paper proposes the characteristics of the improvisation of the game and the direction to be improved game analysis model in humanities through forms of improvisation in game environment.

• The Journal of the Korea Contents Association
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• v.17 no.4
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• pp.532-540
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• 2017

This study analyzes and compares the meaning and the value of storytelling with characteristics of the Playback Theatre, which is an improvisational play. On one side, the Playback Theatre, invented by Jonathan Fox in 1975, is an improvisational and communication-based theatre format; and it usually brings in the storytelling of audiences and often entails no play script. On the other side, storytelling requires imagination and creativity; presupposes the sympathy between the speaker and the listener. In fact, this theatre format is utilizing the educational and healing effects of verbal cultures, group sacrificial ceremonies, and/or psychodrama; and it is contextualizing them in our modern society. The Playback Theatre provides the audiences with opportunities to share their own stories within the play itself. The actors first listen to the stories of audiences; and then make them into a play impromptu, right in front of the speaker(s) and other audiences. For this very reason, it is called a "play-back". In this process, the individuals and the community are invited to experience the educational and healing effects.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.70-79
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• 2013

The film language is distinguished roughly according to shot angles and size and camera movement. The film language is what the performer should be well-acquainted with in camera acting. Since the most important characteristics of acting in front of the camera lies in being with the camera, the relationship between the camera and the performers is basically mutual communication and is the inseparable relationship in which they should be well acquainted with each other. Understanding of diverse film languages for acting in front of the camera enables the performer to adapt to the media quickly and to concentrate on acting. Performance changes according to the media or environment in which acting is performed. For a good performance, the performers should be able to appropriately express their own acting according to the characteristics of the space or the media in which they do performance. Acting in front of the camera is clearly distinguished from acting on the stage in the aspects of either media characteristics or acting. With the manifestation of extemporaneousness and the discovery of the performers' personality to the extent possible, performers themselves proceed with creative works in collaboration with the director in acting in front of the camera and can attain the development of acting in front of the camera.

• Proceedings of the Korean Society for Quality Management Conference
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• 2009.10a
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• pp.341-346
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• 2009

서비스는 이질성, 생산과 소비의 비분리성, 개별성, 즉흥성, 소멸성 등의 속성 때문에 품질관리가 어렵고, 정량적인 관리가 쉽지 않던 연구 분야였지만, 최근 들어 서비스품질에 관한 연구는 과학적인 접근방법들을 통해 서비스사이언스로 거듭나고 있다. 서비스 분야 연구에 생산운영의 개념이 적용되면서 서비스전달시스템 분석과 같이 서비스 과정을 도식화하여 전체 흐름을 파악하여 실수 가능 위치를 발견하여 관리하는 서비스과정에 대한 품질관리가 체계적으로 진행되고 있음을 보여주는 사례들이 발견되고 있다. 본 연구에서는 서비스 생산운영에 대한 개념들 특히 서비스 생산시스템(공정관리)을 설명하고, 소비재를 생산하는 제조기업들의 서비스 센터를 중심으로 서비스 생산프로세스를 분석한 연구 사례를 소개함으로써 서비스 분야에서도 공정관리가 가능함을 서비스 실무자들에게 소개하고자 한다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.2
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• pp.583-589
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• 2017

The 1900s in New Orleans, the harbor city, was indeed an era of confusion because there were various ethnic groups and races. Songs that had been sung by slaves taken from Africa, Black spiritual music, blues, British folk songs, French folk music, ballet music, Spanish dance music, and the march of military bands were mixed with Rag Time to achieve diversity. This developed the beginning of jazz. While swing jazz was most popular and loved by the public during the 20th century, the bebop preferred the small scale organization of musical instruments and developed as a form of jazz featuring the impromptu musical performances. Later, cool jazz, a new style involving the fast and complicated code progress, emerged with free jazz, which features the fundamental rupture from the tradition of the jazz. Miles Davis, who introduced the rock beat in jazz, started fusion jazz. Although jazz has been named differently depending on the era, the main attraction of jazz lies on improvisation. In other words, despite a small changes in code progress and rhythm, the most important thing the player considers is improvisation. Some famous players who lived in the same era followed the whole atmosphere but each had their own style. So, even when they did play the same song, they revealed their style in solo parts despite the same head.

• Art History and Visual Culture
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• no.21
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• pp.126-147
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• 2018

This paper is to find the theme and meaning of the Beauvais Grotesque tapestry considered a conundrum. The three works are chosen from Beauvais Grotesque consisting of six tapestries, which are The Offering to Pan, The Musician and Dancers, The Camel in the J. Paul Getty Museum. I analyzed these works by dividing them into grotesque ornaments, chinoiserie motifs, and scenography. The Offering to Pan shows the influence of Raphael's Grotesque tapestry, but Beauvais work followed the design of Jean Berain's Grotesque with arabesque. In The Musician and Dancers, chinese ceramics, textiles, and Chinese people in edge were noted. Especially, the Chinese with yellow skin in the border reveals the European gaze on China at that time. In the 18th century, Chinoiserie was prevalent through stage designs rather than books. The Camel, playing Brighella, makes it clear that this tapestry is a stage of Comedia dell'arte. The characteristic of Comedia is a mixture of genres such as music and dance, with no scripting 'improvisation.' Features of Comedia are 'improvisation' without a script and a mixture of genres such as music and dance. Thus, the Grotesque tapestry transfers the stage of the Comedia into threads woven. In addition, the horizontal stage decoration with the disappearance of the perspective vanishing point is related to the era of regent of Philippe d'Orl?ans (1674-1723). Above all, the grotesque, Chinoiserie, and scenography are all fantasies separated from reality. Therefore, the Beauvais Grotesque tapestry represents of 'improvisation' and 'fantasy' in which there is no narrative theme or meaning, as if the script of Comedia did not exist.