• Journal of the Korea Academia-Industrial cooperation Society
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• v.14 no.4
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• pp.1595-1603
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• 2013

This study uses the Importance Performance Analysis (IPA) on viewing motivation for the revitalization of Korean creative musicals. The IPA is the evaluation techniques to simultaneously compare and analyze relative importance and achievement of each attribute for multi-attribute models. This analysis uses the discerning method by displaying the matrix that includes the factors about which customers care and customer satisfaction on each factor. The customer satisfaction is determined by customer expectation for each attribute and its implementation level. This study, through this method, exams the importance and satisfaction level on attributes of viewing motivations for Korean creative musicals.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.405-410
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• 2008

There is always a rhythm in our language and speech. As soon as we speech out, even just simple words and voice we make are edited as various emotions and information. Through this process we succeed or fail in our communication, and it becomes a fun communication or a monotonous delivery. Even with the same music, impression of the play can be different according to each musician' s emotion and their understanding. We 'play' our language in the same way as that. However, I think, people are used to the variety, which is, in fact, the variation of a set format covered with hollow variety. People might have been living loosing or limiting their own creative way to express themselves by that hollow variety. SPACIAL POEM started from this point. This is a new type of 'real-time visual interaction' expressing our own creative narrative as real-time visual by playing a musical instrument which is an emotional human behavior. Producing many kinds of sound by playing musical instruments is the same behavior with which we express our emotions through. There are sensors on each hole on the surface of the musical instrument. When you play it, sensors recognize that you have covered the holes. All sensors are connected to a keyboard, which means your playing behavior becomes a typing action on the keyboard. And I programmed the visual of your words to spread out in a virtual 3D space when you play the musical instrument. The behavior when you blow the instrument, to make sounds, changes into the energy that makes you walk ahead continuously in a virtual space. I used a microphone sensor for this. After all by playing musical instrument, we get back the emotion we forgot so far, and my voice is expressed with my own visual language in virtual space.

• The Journal of the Korea Contents Association
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• v.18 no.4
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• pp.503-515
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• 2018

This paper reevaluates the influence and value of Shakespeare inherent in the history of music, focusing on the works of playwright William Shakespeare who have had an absolute influence on the history of music and various musical works derived from his work. To consider ways referred to the original work of Shakespeare, and at the same time to analyze the different musical pieces with his same material, and also about the musical implementation according to theatrical devices provided by Shakespeare through the four aspects of 'Shakespeare's musical descriptions and texts', 'Configuration model and its variants', 'Portrayal of person and human character' and 'Genre diversity and Creative possibility'.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.2 s.8
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• pp.65-73
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• 2006

Lots of audience turn their eyes upon musical to satisfy various cultural desire. It is popular culture that was watched in culture contents industry. The stage costume which turn audience's eyes in musical the most is the sight art of stage to express visually actor(actress)'s personality, mental state, administrative position, age and the distinction of sex. This study researches designed stage costume which was based on time backgrounds and historical facts of reinvented clothes and its ornaments in Egypt by 'Sonia Rykiel' through musical, 'ten commandments' with special times. We collected home and abroad documentary records, Internet data. Moreover we viewed performance to analyze stage costume and brochure photograph data to study. In consequence the stage costume of musical 'ten commandments' found its way out of traditional clothes and its ornaments largely. We can recognize the stage costume as the most important part in drama by explaining the content on drama as costume through reinvented shape with modern sense and by taking charge of the principal part to lead atmosphere. In addition, thanks to the creative work of designer for stage costume, we can realize important intermediation to make higher artistic value of musical.

• Journal of Music and Human Behavior
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• v.5 no.2
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• pp.93-102
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• 2008

In Jungian theory the developmental stages of human life are symbolized as a circle that represents the wholeness, and the open ended process towards the wholeness is called Individuation. In the belief that every human being has his or her own "Music Child" that represents one of the creative, genuine, healthy cores of the self, we are all musical beings, and each individual has his or her own relationship to music. Musical individuation therefore refers an open-ended process towards the wholeness in music. Being a Nordoff-Robbins Music Therapist, who values the therapeutic essence of innate creativity and uses improvisational music to maximize it, helped me realize that not only the client but also the therapist has to reach his or her own musical self, Music Child, in order to facilitate any change or growth through music. This realization led me to start a journey towards my own musical individuation. Hence, this essay is a very personal document illustrating my ongoing journey towards musical individuation that will allow me to become more whole and genuine in music.

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.1-14
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• 2012

Ever since the year 2000, Korea's musical markets has invited famous overseas license performances and have therefore cooperated with staffs working overseas in regards to stage costumes. This study aims to suggest the methodology of the stage costume making process according to the present advanced production system of Korea's musical market. The researcher participated in the stage costume making work of 'Chicago' as a costume supervisor. It took place at the Opera House of Seongnam Art Center from January 10, 2010 to February 28, 2010. Furthermore, there was significance in reinforcing academic values and implementing practical making process of stage-costumes based on the actual field work. The method of this research was carried out through a theoretical research and a case study that focused on empirical research. As for the research scope, it was limited to the actual stage-costumes that the researcher fully engaged with as a costume supervisor of the musical 'Chicago.' The results of this study were as follows. The stage costume making process of the musical 'Chicago' was categorized according to the classification of production system in the performance. For pre-production, it was divided according to the information of the actor and the analysis of the bible. Rehearsal period was divided according to the product clothes and fitting. Production week & preview were divided according to the changeover of clothes and the arrangement of dressers. The Run was divided according to the inspection of the situation concerning clothes in general during the performance. Post-Production Period was divided according to the collection of clothes and the implemented database. This study eventually suggested appropriate stage-costume making processes for the costumes making environment according to the expansion of overseas license musical market. However, it has a limitation of the research scope to the musical 'Chicago.' The creative performances of the domestic version are planned in diverse forms and come to abroad animate by the Korean Wave. Therefore, the field of stage-costume is necessary for the establishment of practical schemes of the system and copyright in accordance with the environment.

• (The) Research of the performance art and culture
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• no.25
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• pp.211-251
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• 2012

I attempted to study the resolution of how I can show the essence of an original musical production to audience, the possibilities of how recreate impossible elements according to Korean musical environment because of cultural and linguistic differences, and verify the meaning of adjusting an original production to Korean one through directorial approaches to licensed musical production. I mainly exemplified 2009 Korean production (Charlotte Theatre, March ~ August, 2009) that I directed. The purpose that I wanted to analyze the case of Korean production mainly is able to prove a wide variety of possible challenges rather than simply licensed ones because the former was recreated in 30 years after the first original production. Recreation and coaching to acting through fine and precise analysis of an original production, Koreanizing Western culture of the licensed musical, resolving the problem of linguistic nuances are the important ways to direct licensed musical. For licensed musical director, cooperation with original creative team and Korean production company must be the most important job.

• Korean Journal of Child Studies
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• v.25 no.3
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• pp.115-126
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• 2004

The purpose of this study was to examine the effects of Korean traditional music education for young children on the development of musical attitude and rhythmic sense of young children. The subjects were 42 four or five-year-old children enrolled in two classes of a public kindergarten. Half were in the experimental and half were in the control group. Instruments were "Music Interest Test for Young Children" (Kim, 2000), "Musical Attitude Rating Scale for Young Children" (Ahn & Han, 1999) and "Primary Measures of Music Audiation" (Gordon, 1986). The procedure included pre-test, treatments and post-test paradigm. Experimental group had Korean traditional music activities three times per week, including listening, appreciation, singing, playing traditional instruments and creative movement. The control group was merely provided with materials related to the Korean traditional music. Data was analyzed by t-test. Results indicated significant differences in music attitude and rhythmic sense between the experimental group and the control group.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.383-393
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• 2018

The purpose of this paper is to study on the elements of the Sinmyung and the expression recognition of body movement in Korean dance of college students majoring in musical. The participants were 12 male and female college students in musical major who experienced in dance, song and acting. The program was composed of the experience of the Sinmyung: recognition of sound and dance, breathing and movement in the Korean dance, 8 hours twice a week for four weeks. As a qualitative approach is the discovery of the center of the process, we carried out an inductive analysis of the area on the basis of observation, in-depth interview and student report. The core of this analysis is to attempt to analyze contents concentrating on the recognition exploration of the Sinmyung sentiment and the body expression through sound and breathing. In conclusion, for college students majoring in musical, the expression recognition of the experience of the Sinmyung and the movement in the Korean dance contributes to the improvement of creative thinking through body perception, and the practical use of the capacity of image expression through concentration of sound and breathing. Finally, the results of this research could articulate with the value of body expression and the creative factors of college students majoring in musical.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.15-23
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• 2019

This paper aims to identify the characteristics implied in the process of change of Stephen Sondheim's musical style and to derive the structural communication tools that connect the creator and audience and the implications. The strategies that appear in Sondheim's musical works are the following. First, Sondheim's early musical works follow the principles of book musical and emphasize the integration faithful to the basic elements such as the rhythm and meaning of the lyrics. Second, in the era of early postmodernism, Sondheim attempts the principle of extreme deconstruction through the concept musical Company and pursues rational thought through fragmented dramatic flow. Third, while maintaining dramatic linearity to overcome the lack of immersion caused by extreme deconstruction, Sondheim realizes a more elaborate and formalized fusion style of the principles of integration and deconstruction through the choruses and the songs of the characters in Little Night Music and Sweeney Todd. Finally, Sondheim attempts multiple experiments to break down the boundaries of act and scene and to express new subject matters through his works such as Sunday Park with George and Into the Woods. In conclusion, Sondheim's fusion experiments and strategies are the process of finding a framework and a medium of communication to induce dramatic immersion of audience and at the same time create rational thinking about social problems to deliver the message of the creative work with the leading aesthetics of the modern musical's box-office success.