• 문화기술의 융합
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• 제7권3호
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• pp.241-246
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• 2021

Ladysmith Black Mambazo는 남아프리카공화국의 전통적인 줄루 아카펠라와 미국흑인음악의 영향을 받은 남성그룹이다. 미국의 주빌리 합창단이 1870년대에 남아프리카공화국에 와서 공연을 하면서 남아프리카공화국의 음악에 영향을 미쳤다. 토착적인 줄루족의 아카펠라와 미국의 주빌리 음악 스타일이 만나 탄생한 음악이 Ladysmith Black Mambazo의 음악이라고 할 수 있다. 이들은 Paul Simon의 앨범 『Graceland』에 참여하게 되면서 전세계적으로 유명해진다. 앨범은 수백만 장의 판매고를 올리게 되고 그래미 어워즈에서 수상을 하게 되었다. 그 후로도 자신들만의 앨범을 발매하여 그래미어워즈에서 총 5회의 수상을 하게 되고, 15회 노미네이트 되었다. 그들은 음악적 유산보존을 철학으로 삼아 줄루족의 음악을 계승·발전시켰다. 같은 비서구권 국가로서 법고창신의 정신을 돌아보고 우리나라의 뮤지션들에게 좋은 영향력이 되길 바라며 Ladysmith Black Mambazo의 'Black Is Beautiful'과 'Homeless'의 음악 분석을 통하여 이들의 음악이 서양의 음악에서 받아들인 점과 자신들만의 전통음악에서 계승해나가고 있는 점들을 알아보았다.

• 디지털융복합연구
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• 제15권6호
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• pp.439-445
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• 2017

현재 전 세계 대중음악 시장의 헤게모니를 쥐고 주도적인 위치를 점하고 있는 미국의 대중음악 중에 대다수는 예전에 노예였던 아프리카계 미국인들의 문화로 부터 탄생되었다. 흑인 노예들의 음악은 미국역사에 끼친 가장 큰 영향들 중에 하나일 것이며, 세계 대중음악사에서 빼놓을 수 없는 거대한 업적일 것이다. 미국뿐 아니라 전 세계 대중음악의 주류에 있는 음악들은 모두 흑인음악을 모태로 유전자를 받은 그 후손들이다. 결국 아프리카계 미국인들의 문화에서 나온 음악이 세계인이 즐기는 음악이 되었다고 볼 수 있다. 현재 K-Pop의 아이돌 음악 문화 또한 흑인음악에 그 기본 바탕을 두고 있다고 볼 수 있다. 이러한 사실은, 우리와 관습과 이념이 다른 인종에게도 거부감 없이 우리의 문화가 침투될 수 있는 가장 큰 요인이 아닐 수 없다. 전 세계를 통합한 흑인음악의 중심에 있는 모타운 레코드사의 성공요인은 상업적으로 놀랍도록 뛰어난 음악 작품뿐만 아니라 현실에 안주하지 않는 뮤지션들의 자의식이라 할 수 있다. 지금의 인기에만 집착하여 10대에 편승한 음악시장과 작가의식, 예술성 결여를 지적받는 우리 대중음악계의 음반 관계자들과 뮤지션들의 자성이 필요하다.

• 디지털융복합연구
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• 제15권12호
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• pp.455-460
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• 2017

우리나라 대중음악에서 소울음악은 뛰어난 가수로서의 평가기준이 되고 있다. 우리가 열광하는 소울음악을 이해하기 위해서 음악의 모태가 되어진, 흑인들의 피와 땀이 서린 광활한 대지에서 외치는 소리(Filed Holler)와 그들의 처량한 신세를 한탄하며 노래하던 송스터(Songster)음악인 블루스. 그리고 정신적 유일한 안식처인 교회 음악과 중요한 뮤지션들을 고찰하였다. 특히, 탄생시점인 1960년대 미국의 사회적 배경은 소울음악을 이해하기 위해 가장 중요한 요인이라 할 수 있다. 수많은 외세의 침략가운데 처절한 식민 지배를 받아온 우리나라는 자연스럽게, 노예역사를 가진 흑인들의 정서를 공유하고 있다고 볼 수 있다. 흑인들에게 소울음악은, 사회적 태도의 표현이며 분노표출의 음악인 것이다. 그러나 지금 우리나라에서 홍수처럼 쏟아지는 많은 음악 가운데 삶의 본질을 관통하는 음악이 너무나 부족하다. 흑인들의 처절한 삶의 투쟁으로 얻어낸 고귀한 결정체인 소울음악이 우리에게 단지 이성에 대한 구애와 화려한 보컬의 능력을 과시하는 수단으로 전락하고 있음이 안타깝게 느껴진다. 소울음악이 흑인들에게 정체성과 자존감 회복의 강력한 도구가 되었듯이 우리사회에서 약자들의 소리를 시원하게 외칠 수 있는 본질의 소리가 되길 기대한다.

• 패션비즈니스
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• 제5권1호
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• pp.53-71
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• 2001

The purpose of this study how 'Afro-American resistance' is showed up in the fashion trough the study of rapper's fashion present in singing rap music. Rap music produced by the influence of black music. It have been the tool of expression of pain and sorrow of their lives and included their resistant spirit. So rapper's fashion expressed resistance. at this point I categorized the resistant feature of rapper's fashion at two types in terms of the extent of expression. Their are active resistance fashion and passive resistance fashion. Also each fashion types was classified in terms of style, material, color, accessories and so forth. Active fashion is possible to classify these three styles as follows. The first one is Afrocentic style that was raised from longing for Africa. The second one is Military style which contains an ling-time enduring spirit of resistance against the society. The last one is Hiphop style that violated the typical rule of dressing under the hiphop style culture. these kinds of active resistance are also classified as material like blue Jean showing black workers' resistance, color like black showing off superiority of 'black' and red, gold and green color expressing black people's resistance, and other accessories like chains, cross and so on. Passive resistance fashion has several variations according to the style. There are Jazz style, Uniform style and Hiphop style. It is also categorized as high-tech materials, white color which is the expression of desire for white and luxurious accessories showing off wealth.

• 복식문화연구
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• 제17권1호
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• pp.76-89
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• 2009

Popular music unites people who have different genders, ages, locals, and values. Through the popular music, youth interchange their emotion and create their fashion. Fashion and music formed the twin pillars on which the first historically significant youth sub-culture was built. Glam rock and Punk rock which won popularity in the 1970s influenced the fashion of the times. The purpose of this study is to compare Glam and Punk make-up which appeared as a symbol of the rebel against an older generation. The methodology utilized in this study was the analysis of materials from the survey through the literature, internet sites, and visual references. The results of this study are as follows: In face make-up, Glam used a white base to appear cosmic; on the other hand, Punk used a white base to appear pale and horrid. In eye make-up, Glam used black, pink, and blue eye shadow, and accented the eye by using black eye lines. Punk used black eye shadow, and drew black circles or squares around eyes. In lip make-up, Glam used pink, purple, red, and black lip color and silver and pink lip gloss to glitter. Punk used red and black lip color to appear horrid. In body make-up, Glam used glitter powder to appear with a bright skin. Punk drew tattoos and horror patterns in their body. The common themes of Glam and Punk make-up were rebellion, androgyny, and the beauty of ugliness as well as a self-created persona.

• 한국의류학회지
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• 제21권3호
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• pp.544-558
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• 1997

Black street style has made unique fashion in popular music such as Jazz, Soul, Rhythm Il Blues. Reggae, and Rap, and it is counterculture and subculture against white. Furthermore, the black street style has played a starring role in the development of white culture as well as black culture, which emerged in direct opposition to the dominant cultures practised by a fraction of fellow countrymen within the black diaspora. The objectives of this study are to examine the social chronology of the black street style and the contemporary fashion, and the influences of the black street style on white culture. The seeds of black's style were sown in the late forties, developing throughout the fifties with the arrival of black immigrants from the west Indies and its examples were zooties, hip cats 8l hipsters, modernists. Rude boy & two-tone was anti·fashion style in sixties and then rastafarians continued in seventies costume is used to convey an essential symbolic class and ethnic message. The latest black's street fashion is hip-hop dress, which is pluralistic and electric, and funk is also erratic. During its ten-year reign as an international style, it has undergone numerous shifts because it is decline of racism B-boy & flygirls toraggamuffins & bhangra style to acid Jazz. These have played a crucial part in influencing the gigh fashion and avant-grade fashion designers' work. Today's street fashion has characteristics of postmodern culture without a racism in global village. Moreover, pop music stars take an effect on the street style continuously. With the opening of a new century, the study of the street style will overcast popular fashion and suggest the direction of fashion design.

• 복식
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• 제58권2호
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• pp.48-61
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• 2008

This study aimed to examine emo fashion, a very recent music-related fashion trend spreading fast amongst youths, and understand emo ideas and methods of expression for a greater understanding of contemporary youth sub-cultures and fashion trends. Documentary research, positive research and in-depth interviews were used throughout the study. 4 Korean emo bands and 4 U.S. emo bands were selected based on music chart rankings, and a total of 37 photographs from the bands' Internet websites were selected, and their clothes shown in the photographs were examined. 5 Korean emo band musicians were subjects of in-depth interviews, and they were asked about their emo culture, music, fashion, ideas and styles, and photographs were taken of the subjects and evaluated, too. Lastly, Korean and U.S. emo kids were studied through photographs, and comparatively analyzed. Both Korean and U.S. emo musicians wore slim silhouettes, skinny jeans, t-shirts, sneakers, black, studded belts and plastic-framed glasses. Korean fashion expressed a less depressive atmosphere with color and other details compared to the United States, and did not prefer dark black eye make-up, which United States emo style appeared to express frequently. Korean musicians' emo fashion was closer to other youth fashions, whereas U.S. emo fashion included more formal styles such as ruffled shirts and pin-striped vests. Korean emo kids wore clothes not much different from most Korean youths, but U.S. emo kids wore a lot of eye make-up and black t-shirts with graphic or skull prints, and had more geometrical hair styles, as if cut at home. The reasons for such differences were found to be a longer emo music and culture history in the United States leading to more elaborate fashion expressions and a difference in the states of mind, such as Korea pursuing to express love, and the United States pursuing loneliness.

• 패션비즈니스
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• 제5권1호
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• pp.73-85
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• 2001

The purpose of this study is to understand what the Glam Style is, focus on the movie "Velvet Goldmine". The Glam Style is refered early 1970s Glam rockers' costume, typified by silver lurex, corksoled platform, men in make-up, personified, for example, by David Bowie, Marc Bolan, New York Dolls, Roxy Music and Iggy Pop. To approach the Glam Style comprehensively, I have divided the formative background of Glam Style into the improvement technology, the advent of the young generation and the diffusion of mass media, the rock music fever and influence on Pop art. Following is the result of analyzing of the character in the movie. First, Brian Slade has the flamboyant transsexual image by skin-tight space suit, glitter pants, lurex, satin and sequined stretch fabrics, vivid color, gauze make-up, feather boa. Second, Curt Wild expresses the outrageous sexual image by black leather jacket, emphasized black eyes make-up. Third, Mandy Slade appears the exaggerated and frivolous image by gold leopard patterned one piece, fur coat, ornamented with beads, tropical make-up, spangles and the costume jewelry. Forth, Auther Stuart has the complex image by black leather jacket, velvet jacket, skin-tight bold shirt, glitter pants, glitter make-up, silk scarf, cherry-red sunglasses. The characteristics meaning of Glam Style implied in this formative characteristic could be presented as the experimental expression of androgynous, the hordes of outrageous alien and kitsch parody.

• 패션비즈니스
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• 제17권1호
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• pp.13-29
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• 2013

The purpose of this study was to analyze eroticism shown in the fashion of Lady Gaga's music video. This study methods taken theoretical consideration and then was classified eroticism based on previous studies and was analyzed costumes from Lady Gaga's music video. The results of this study were as follows: Avant-garde style exaggerates shoulders, hips, a hat or uses metal and glossy material, tape, leather and it was expressed into emphasizing or baldly exposing breast. Primitive style was expressed in ethnic style and animal patterns, lingerie look with drastic, bald exposing fashion. Romantic style was expressed using rococo style costume, frill, pleats, decoration and was produces eroticism with see-through look or costume fitting to the body. Sportive style expresses a healthier and erotic image using tight costume in yellow, blue and black while exposing belly and legs. Janus-faced style was expressed by dressing up like a man or using the method of attachment and exposure in clergy's costume. Humorous style was expressed by emphasizing parts of body or costume itself. As examined in the above, Lady Gaga was expressed various eroticism images in her music video and is builds her own sexually appealing.

• 방송공학회논문지
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• 제26권7호
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• pp.838-843
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• 2021

This paper presents an algorithm for effective retrieval of score information to an input score image. The originality of the proposed algorithm is that it is designed to be robust to recognition errors by an OMR (Optical Music Recognition), while existing methods such as pitch histogram requires error induced OMR result be corrected before retrieval process. This approach helps people to retrieve score without training on music score for error correction. OMR takes a score image as input, recognizes musical symbols, and produces structural symbolic notation of the score as output, for example, in MusicXML format. Among the musical symbols on a score, it is observed that filled noteheads are rarely detected with errors with its simple black filled round shape for OMR processing. Barlines that separate measures also strong to OMR errors with its long uniform length vertical line characteristic. The proposed algorithm consists of a descriptor for a score and a similarity measure between a query score and a reference score. The descriptor is based on note-count, the number of filled noteheads in a measure. Each part of a score is represented by a sequence of note-count numbers. The descriptor is an n-gram sequence of the note-count sequence. Simulation results show that the proposed algorithm works successfully to a certain degree in score image-based retrieval for an erroneous OMR output.