• Journal of Digital Convergence
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• v.19 no.1
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• pp.349-354
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• 2021

The purpose of the project is to study the factors affecting the new user experience and satisfaction as the concert market of K-POP is moved to the online stage by the Corona 19. The study conducted a survey and in-depth interviews with men and women in their 20s and 30s who participated in the K-POP online concert, consisting of proposed by Stephen P. Anderson. The study found that participants' propensity, concert composition, platform-supported technology, and quality factors affect user experience satisfaction. It was also noticed that while the grafting of new technology did not have a significant effect on the part of Pleasurable, the satisfaction level was significantly reduced if the quality was poor. Hopefully, this study becomes a reference to the future direction of online concert development.

• Information Systems Review
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• v.25 no.2
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• pp.77-101
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• 2023

Due to COVID-19, paid virtual live-stream concerts have emerged as an alternative format and a new revenue model for in-person live concerts. Despite the increasing scholarly and practical interest in how participants experience paid virtual live-stream concerts, few studies examined participants' consumption and participation experiences. Thus, this study aims to provide insights into consumers' virtual live-stream concert experience by employing social representations theory (SRT). We explore the features of paid virtual live-stream concerts based on the C-P-N-D (Content-Platform-Network-Device) framework and the consumers' cognitive and affective perception. To this end, an SRT-based core-periphery analysis was conducted based on 239 responses to the open-ended survey questions. The results show that network-and device-level features of virtual live concerts and participants' overall perception are presented as core elements of paid virtual live-stream concerts, whereas content- and platform-level features are peripheral elements. This finding provides an in-depth understanding of the emergence of paid virtual live-stream concerts as an alternative concert format, thereby providing an invaluable understanding of a virtual live concert experience and theoretical and practical insights.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.3
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• pp.88-93
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• 2023

In the era of continuous progress, concerts have emerged as a significant medium for music performance, providing audiences with both musical enjoyment and a means of relaxation. The study examines pivotal moments and milestones in concert history, highlighting the emergence of novel elements such as visual presentations, integration of multimedia, virtual reality experiences, and metaverse concerts. By scrutinizing the repercussions of these changes on the concert experience, the study sheds light on the transformative influence of technology on concert formats, audience engagement, and artistic expression. Moreover, it delves into the challenges and opportunities arising from technological advancements in the contemporary concert landscape. The insights gained from this research contribute to a comprehensive comprehension of the dynamic interplay between technology and concert forms, thereby laying the foundation for future scholarly discourse and advancements within the field.

• The Journal of the Acoustical Society of Korea
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• v.36 no.2
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• pp.130-135
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• 2017

In this paper, we propose an interface for interactive sound experience in the virtual concert hall. The proposed interface consists of two systems, called 'virtual acoustic position' and 'virtual active listening'. To provide these systems, we applied an artificial reverberation algorithm, multi-channel source separation and head-related transfer function. The proposed interface was implemented by using Unity. The interface provides the virtual concert hall to user through Oculus Rift, one of the virtual reality headsets. Moreover, we used Leap Motion as a control device to allow a user experience the system with free-hand. And user can experience the sound of the system through headphones.

• Journal of Korea Game Society
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• v.22 no.1
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• pp.43-54
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• 2022

COVID-19 provided visitors with new online concerts that gradually increased in many ways. The disadvantage of current online concerts is that cannot make full use of the interaction with others. We hope to provide online concert audiences with the same experience as offline. This study was conducted under the condition that the audience watched online concerts and movies individually or group. Experimental results confirm that watching online concerts collectively will increase the sense of immersion. It can be used as a design guide for the virtual public viewing environment in the future.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.283-291
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• 2022

Due to the impact of COVID-19, untact performances where performance videos are recorded, edited and distributed have begun to be activated in a non-face-to-face environment. Performance halls are supporting untact performance services such as video production and broadcasting so that performances can be viewed through online platforms. Therefore, this study intends to study the satisfaction and continued use intention of the untact performance service in the concert hall for experts who have experience using the untact performance service in the concert hall. A total of 9 hypotheses were rejected and 10 hypotheses were adopted as a result of developing and analyzing a research model suitable for the untact performance service of the concert hall by fusion of the information system success model and the expectation inconsistency model. Excluding content quality, it was found that in both system quality and service quality, inconsistency occurs through the comparison of expectations and performance after expectations arise. This positive discrepancy affects satisfaction, and the higher the satisfaction, the higher the intention to continue using it. This study is a basic study on the untact performance service and is expected to provide a new perspective for quality improvement.

• Journal of Naturopathy
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• v.9 no.2
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• pp.46-56
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• 2020

Purpose: This study proposes a concert oriented music therapy (COMT) program which takes into account the personal and social factors of depression, and its clinical effects were validated on elderly persons with visual impairments who were susceptible to depression. The experiment was conducted on 34 elderly persons with visual impairments, randomly allocated to either the experimental group (n = 15) or the control group (n = 19). The COMT program was applied 20 times in total to the experimental group for 110 minutes every other week, for a duration of 10 months. The depression level was evaluated using the Korean form of the Geriatric Depression Scale (KGDS). The experimental results showed that the average KGDS score in the experimental group decreased by 4.1 points (19.4%), from 21.0 to 16.9, whereas it increased by 1.16 points (5.8%), from 19.95 to 21.11, in the control group. The reduction in the depression level was significant for the following 4 depression factors : decreased social interest (40%), negative thinking and the unhappiness feeling (20%), emotional discomfort (16.3%), and cognitive dysfunction (7.6%), whereas it was negligible in the factors of physical weakening and decreased vitality. The COMT program reduced the KGDS scores of the experimental group regardless of their experience in musical performance. In conclusion, the proposed COMT program proved to be efficacious in alleviating depression in elderly persons with visual impairments. In particular, it proved highly effective in helping with decreased social interest, namely, the social factor of depression which is not properly considered in existing music therapy methods.

• Journal of the Speleological Society of Korea
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• no.95
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• pp.35-49
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• 2009

Ever since the beginning of time, caves not only have offered a place to live for humans but they have also been used as cultural spaces. That is, in the event of making some sounds in a location within the cave, the sound that is created is greatly magnified and sounds out as if it is being amplified from a giant megaphone. This, as we well know it, is known as the resonance effect. Here, the cave itself appears to function as a massive wind instrument. Especially in cases like the Altamira Cave (Spain) where cave paintings were found, the point where the cave drawings were found has commonalities in that it is a wide space and that it is usually discovered together with flutes and drums that are made with mammoth bones. We need to focus on this point. We can infer from these facts that the prehistoric people have carried out cultural activities along with their incantation rituals within those caves. In the meantime, amongst the Korean traditional arts, in the case of pansori which is a representative vocal genre, there have been examples where caves were used as practicing locations for those people who are training to perfect their singing. This is known as toguldoggong(土窟獨功) which literally means 'obtaining one's own art by oneself in the earth cave by practicing incessantly'. This process along with pokpodoggong (瀑布獨功) (same as above except that the location is by the waterfall) is the final training stage in order to become a recognized virtuoso on the part of the apprentice. This could be compared to the final annealing and finishing process of producing a metalwork. This has been a long tradition followed by most Korean traditional artists in order to perfect their sound which is harmonious with nature within natural surroundings. By honing in on this point, I have come to think about this matter repeatedly while coaching the university students in vocal singing. In short, I came to the conclusion that "the making of natural sounds will be obtained naturally within natural surroundings like caves!" Consequently, The Society for Studying Cave Sounds was inaugurated on January 1992 along with some of my students. We made use of times like vacations to go around exploring caves all over Jeju and carried out investigations of sounds along with cave exploration on an experimental basis. After 5 years, in September of 1997, we were able to host the first ever cave concert domestically at the Whale Nostril Cave(東岸鯨窟) on Wu-do. After that, we have been hosting the cave concert once every year. We have achieved a record of a total of 14 cave concerts until 2009 of this year. Out of these, 2 were held in Seokhwaeam Cave in Kangwon Province, another two were held in Manjang Cave which is a lava cave, and the remaining 10 were held in the Whale Nostril Cave of Wu-do. Along with that, I have carried out a special recording for the production of a cave music CD in May of 1999. This paper was written and organized by using the main materials that were derived from the experiences of using caves as concert halls in the past. It is hoped that this cave concert will offer a very unique experience to tourists who come to Jeju every year and give them the best possible superior natural sound effect that only Jeju caves can offer.

• (The) Research of the performance art and culture
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• no.36
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• pp.473-504
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• 2018

This article analyzes the exhibition of the experience for the children using the performance of the at the National Theater Performing Arts Museum. The important part of an exhibition or educational program for children should be a program that can be communicated so that the child can develop the strength to think for himself / herself as a 'subject' rather than a 'target' of the program. The purpose of this article is to analyze the case of exhibitions that solved the 'make-up' part of the performance stage by linking the performance of the concert with the experience in mind. In addition, I would like to take an opportunity to look at the case of how the performance of , which was the theme of this exhibition, was utilized as an exhibition and what kind of experiences it was composed of, and to think about the better direction of children's experience exhibition in connection with the performance.

• Research in Mathematical Education
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• v.5 no.1
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• pp.1-12
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• 2001

Generating fractal images by graphing calculators such as TI_92 combines several important features, which convey the excitement of a living, changing mathematics appropriate to secondary or post-secondary students. The topic of fractal geometry can be illustrated using natural objects such as snowflakes, leaves and ferns. These complex and natural forms are often striking fantastic and beautiful. The examples highlight the fact that complex, natural behaviors can result from simple mathematical rules such as those embodied in iterated function systems(IFS). The visual splendor beauty of fractals, in concert with their ubiquity in nature, revels the intellectual beauty of nonlinear mathematics in a compelling way. The window is now open for students to experience and explore some of the wonder of fractal geometry.