• The Journal of the Korea Contents Association
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• v.21 no.1
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• pp.383-393
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• 2021

This paper analyzed the marketing success factors of the Chinese musical , which entered the world musical market for the first time in the history of Chinese musicals, and investigated the positive effects of the success of on the development of Chinese musicals. First, five important elements of musical marketing were determined as the analysis criteria and through this, we were able to derive that the marketing promotion was achieved by establishing a systematic strategy in the techniques of 'positioning', 'ticket promotion', 'PR strategy', 'producer', 'OSMU' as the success factors of the musical . The case of in Chinese musicals can be regarded as the first successful case by professional marketing. Due to the results of these achievements, the Chinese government and local musical support systems were established, and in recent years, Chinese musicals have been qualitative. It has been confirmed that Chinese musicals are growing rapidly in recent years in terms of quality and industry. It is expected that more academic studies related to Chinese musicals will be conducted through this study, and it is the purpose of this study to be used as a material that can contribute to the creation of Chinese musical with evenly high workability and productability in the future.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.217-226
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• 2020

Ajaeng is the bowed string instrument among zither instruments in East Asia, which has a circular form to date, and it has established itself as an important instrument in today's creative Gugak along with traditional music. Looking at previous prior studies, musical instrument studies have not been actively conducted due to insufficient data from musical history studies, and this study looked at the origin, form of musical instrument, and performance methods of zither bowed string instrument through historical records of Chinese Yazheng and music drawings. The analysis of various documents showed that Ajaeng originated from an ancient Chinese traditional musical instrument called Chuk. In terms of the performance style, the Chinese Yazheng had different musical forms depending on the purpose and location of the performance, and there was a method of standing up and fixing the musical instrument horizontally to the ground. Ajaeng in Korea has been handed down without much change in the form of musical instruments introduced in China during the Goryeo Dynasty and the way they sit on the floor and play on a pedestal. Through this study, we hope that it will help to preserve and develop traditional music and Korean traditional musical instruments by enhancing understanding of musical.

• The Journal of the Korea Contents Association
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• v.22 no.4
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• pp.714-726
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• 2022

The purpose of this paper is to find out the way of utilizing phrases of Chinese poetry in Manjeongje and its musical characteristics. To this end, the roles of phrases contained in the Pansori words were classified into five patterns: landscape description, strengthening of pleasant emotions, strengthening of sad emotions, wordplay, and combination of various poems. As a result of analysis, phrases quoted in sad mood part consist of slow rhythm of Jinyangjo and Jungmori, and sad melody of Gyemyun-gil and Jingyemyun tone; thus, both the rhythm and melody are expressed in accordance with the mood of poems. On the other hand, the melody in the landscape description parts, and the rhythm in the joyful feeling and wordplay parts showed the characteristics of determining the mood. In addition, when applying the analysis results to the perspective of Pansori composition, it is necessary to discover novel texts, apply to editorials, and study musical implementation suitable for the original mood in order to create more artistic Pansori.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.9
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• pp.450-457
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• 2020

This study investigated the effects of music and actor evaluation on musical watching intention by performing a survey on 187 undergraduate and graduate students in Korea and China. Controlling respondents' gender, major, interests on arts, annual number of musicals attended and musical participation motivation grouped by music and actor, we found three things. First, a high evaluation of music and actor leads to high watching intention. Second, when a person is motivated by music, high evaluation on music increases the watching intention, but this is not the case for the actor. Third, Chinese people do not show any interaction effects of watching motivation between musical evaluation and watching intention. In conclusion, people are found to have a greater musical watching intention when they are motivated by music and evaluate high on music, rather than when they are motivated by the actor and evaluate high on actor. Also, the differential effects of evaluation on the musical do not exist in China, where a different musical participation culture prevails.

• Journal of Digital Convergence
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• v.15 no.9
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• pp.201-210
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• 2017

This study investigated the effect of K-POP characteristics on Korean consumers' liking, intention of listening and purchase intention of Korean products. For this purpose, K-POP characteristics were classified into musical characteristics and star characteristics. The results of the study are as follows. First, both musical characteristics and star characteristics of K-POP characteristics had a significant effect on favorability of Korean Wave content. Second, both musical characteristics and star characteristics of K-POP have a significant effect on K-POP listening intention. Third, both musical characteristics and star characteristics of K-POP characteristics had a significant effect on the purchase intention of Korean products through Korean Wave content. However, the relative influence of star characteristics is higher than K-POP characteristics. The results of this study will be useful data for promoting Korean pop among Chinese consumers.

• Proceedings of the Acoustical Society of Korea Conference
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• 1994.06a
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• pp.842-847
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• 1994

This paper presents the nearfield acoustic holography (NAH) imaging system for airborne sound constructed in our own laboratory. The effects of different kinds of noise and the filter function's form in wave number space for reconstructions are analysed emphatically. Using the system we have measured the vibrating mode and the radiated field of a simulative "Chime Stone" made by metal, and gotten interesting results. These results indicate that NAH can be used to research the mechanism of sound production and evalution of musical quality for Chime Stone as an effective means.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.261-272
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• 2022

During the China's long history, many ethnic groups have developed their own traditions of local music which is an important part of their precious cultures. Meanwhile, each ethnic group developed its own worldview and music culture according to its unique living environment, special lifestyle and mode of production. The clarinet is a Western instrument, and has been influenced to some extent by Chinese minority culture while being introduced to China. Therefore, musicians tried to find ways of using Western musical instruments to express various elements of Chinese minority music. Focusing on two clarinet works 'The Song of Grazing Horses' by Wang Yan and 'The Sound of Pamir Clarinet Concerto' by Hu Bijing, this paper aims to analyze the musical characteristics of minority groups expressed by the clarinet in two aspects: the formation of the music style, the artistic characteristics conveyed through the works. Specifically, it consists of five parts: ethnic mode and tonality, rhythm, time signature, melody making, and imitation of animals. It also analyzes the cultural characteristics of Tajik and Mongolian music reflected in the two works in combination with living environment, mode of production, life style, and ethnic emotions. This study aims to provide a theoretical basis for composers and performers who want to understand and acquire the musical style of modern Chinese clarinet works. It also helps to find a better way to play traditional Chinese music with Western instruments.

• Proceedings of the Korean Society of Computer Information Conference
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• 2013.07a
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• pp.381-383
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• 2013

This paper introduces what the interactive projection technology is, and how to use this technology to make a musical instrument. There have been many art works and business products completed by the interactive projection technology, but this technology seldom has been used in the musical field, so we want to make a simple instrument by interactive projection technology, and expect more people to develop this field in the future.

• (The) Research of the performance art and culture
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• no.35
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• pp.441-470
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• 2017

This paper deals with three issues related to influx and change of the Confucian Shrine Ritual Music. First, the musical instrument of the Akhakgwebeom-wooden frame-form used in the current Confucian Shrine Ritual Music is not a form that came in when the Daesung-Aak of the Song Dynasty was introduced in 1116, but it is a Yuan Dynasty form brought from the Ming Dynasty, in the 19th year of King Kongmin. In the Song Dynasty of the Goryeo Yejong era, when Daesung-Aak came in, there was not yet 'Baeso', a musical instrument of the Akhakgwebeom form, which first appeared in the Yuan Dynasty. A new musical instrument named 'Baeso' appears with the 'So' in the later period of King Gongmin, and it is very likely that this 'Baeso' is the musical instrument of the present Akhakgwebeom form. Second, although the form of the 'So' in the Joseon Dynasty recorded in the Akhakgwebeom was followed by the Chinese one, but the pitch and arrangement are the one of the pitch of '12 Yul and 4 Cheongseong' and the arrangement of the pitch from left to right. Third, in the 1930s, the whole form was the same as that of the Akhakgwebeom, but there existed two types, which several pipes stick together or pipes fall apart. But since then, as seen in the musical instrument located at Kyungpook National University Museum and in instruments currently used in Confucian Shrine Ritual Music, only musical instruments exist which pipes fall apart. It is unclear for what reason and to what extent the 'So' were so transformed, but it would be appropriate to re-establish the form of the 'So' in the musical and historical point of view.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.219-227
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• 2019

In this paper, we proactively looked at the structure and characteristics of each instrument in order to compare and analyze the sound colors of the western violin, chinese erhu and korean haegeum, which are representative bow string instruments. Also, many performers have simply been unable to fully explain how the violin is rich in pitch and the haegeum has a unique tone. Also, many performers thinks that violin sounds rich just because it has many overtones and have been unable to fully explain how haegeum makes unique tone. While previous research data show that most instruments are studied and published by analyzing their own frequencies or related cases of acoustic studies, this study provides a visual look how the harmonics composition, which determines musical instruments' timbres, consists of and suggests data specifically by analyzing each sound pressure of integer multiple overtones so that the structure of instruments' unique timbre can be understood. Based on this, we hope that it will be of considerable help to the development of virtual musical instruments of korean traditional instruments, which are relatively small compared to western virtual instruments, by reproducing instrument sounds through the synthesizers in the future.