• Journal of Life Science
• /
• v.18 no.9
• /
• pp.1299-1304
• /
• 2008

The purpose of this study was to develop a exercise program adopted from Jazz dance and to analyze the effect of the Jazz dance program on the Body composition, Blood components and Bone metabolism and also to study the supplement effects of Iron with Jazz dance. The Jazz dance program was composed of warming-up (10 min), Jazz dance (40 min) and cooling-down (10 min) parts. The 21 adult women between 25 and 35 year were divided into three groups; Jazz dance + iron intake group (7), Jazz dance group (7) and control group (7). The Jazz dance program was applied three times a week and 80 mg intake per day were given. The results were as follows. The body weight and lean body mass were decreased in the Jazz dance + iron intake group. The body fat mass were increased in the Jazz dance + iron intake group. The lean body mass were decreased in the Jazz dance group. The RBC, WBC, Hb were increased in the Jazz dance+iron intake group. The MCV were decreased in the Jazz dance+iron intake group. The WBC, MCHC were increased in the Jazz dance group. The MCHC were decreased in the Jazz dance group. The Deoxypyridinoline, Osteocalcin were decreased in the Jazz dance+iron intake group and the Jazz dance group.

• Journal of Digital Convergence
• /
• v.15 no.6
• /
• pp.377-383
• /
• 2017

In this thesis, Improvisation of Jazz Vocal that can be characterized as Jazz music, namely practice of Scat suggest that way of applied approach that root position of chord and chord tones. Scat plays a solo using reproduced tunes of meaningless scat syllable that is not use the lyrics and melodies, which are written in a score. For this, Using the root position of chord is a reference point that Jazz vocal constructs a musical melody. Singing person can develop that reference point from simple scat to develop increasingly complex scat and can express that musical expression and communion. It analyzed the music functionally with a standard Jazz music 'All of me' as the center from composition of chord tone that improvise song to bass line, bass scat, analysis of chord tones arpeggio and expression. In this thesis, the improvisation of a Jazz vocal that may seem somewhat abstruse and complex could be relatively easy to construct through a gradual approach.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.16 no.12
• /
• pp.8830-8835
• /
• 2015

As the smallest unit in the composition of any melody, motive forms the basis for melodic tunes and establishes a starting point for any creation. Among other melody composition methods, how to form a motive, change it, and refine it to develop a solo is important in playing solos, and in an impromptu jazz solo, analyzing how motive is changed and developed and using it can be a method or idea to approach a more melodic solo. This thesis consists of a thorough analysis of the kinds of developmental methods that were used to change and advance motives in three solos by Larry Grenadier, a musician who is active with creative ideas in many genres of contemporary jazz music. After such analysis, these motive development methods were applied to a rendition. Since judgment was used in the motive development methods mentioned in the introduction, elements in the methods that appeared to be motives but were impossible to analyze were excluded from the analysis, therefore making it one limitation of this study. There will be a need for future studies to overcome this limitation.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.17 no.7
• /
• pp.518-528
• /
• 2016

It seems like many songs have the tonality of one key in jazz standards, but there are many cases in which more than one new key could be formed, despite being a short moment. Moreover, some songs contain keys of temporary changes many times in the event that keys are changed transitionally with the sequencing of cords many times, which is called 'Transitional Modulation with Sequences. The proceeding II-V-I of the major and minor keys are used as the sequencing of cords, and the most popular type in this sequencing pattern is the downward modulation in whole-steps or half-steps. The downward modulation in the interval of whole-steps is a useful technique; for example, there should be three compositions in the adjacency circumstances when it is used twice. We could express effectively a phenomenon that feelings go up to the climax and rapidly fall down. The downward modulation in half-steps must be more dramatic because a higher comparative aspect is made between the adjacent two keys.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.4
• /
• pp.157-166
• /
• 2021

The purpose of this study is to understand the characteristics of contemporary vocalization and songs in order to learn various vocal methods in musical vocal classes and apply them to students. Musical vocalization methods change and evolve according to the demands of the times. Today, the characteristics of contemporary musicals cannot be limited to anyone genre, and the genre of music as well as the style of work are derived from several genres and coexist. 'The Girl in 14G,' the subject of this study, is a song that appeared in the album of Kristin Chenoweth, a famous American musical actress who uses various vocal techniques. Jeanine Tesori composed this song with various vocal techniques such as Classical, Jazz, Belting, and Mixed Voice to express New York's representative music genres of Broadway Musical, Metropolitan Opera and East Village Jazz. The development of the song consists of a difficult process in which one actor has to act across three different characters in three musical styles and singing methods. Singing 'The Girl in 14G' requires a lot of effort and practice as it is necessary to acquire various vocal techniques, which makes it a good text for students and actors in the educational perspective. As a result, this study confirmed that this song is a representative piece with a solid musical and dramatic composition and is a good example that shows the convergence characteristics of contemporary musical vocal techniques.

• Journal of Korean Theatre Studies Association
• /
• no.49
• /
• pp.5-47
• /
• 2013

Among the styles of performing arts, perhaps the genre that has attracted the largest audience would be musical. Popularity of musical has brought diverse changes in our performing arts market, and, upon emerging another musical genre, called 'Korean Traditional Musical Comedy,' it has been well-received by the audiences. 'Korean Traditional Musical Comedy' is a word that are formed by merging two other terms such as 'Korean Traditional Music' and 'Musical (Comedy).' In the meantime, however, it has yet some problems in order to be defined as the genre that has concrete concepts. It is because the term such as Korean Traditional Musical Comedy was created being closely associated with a marketing purpose rather than a term that defines the characteristics of a genre of performing arts. Although this new musical genre has drawn attentions of many audiences by adding 'Musical Comedy' to 'Korean Traditional Music' that was not quite popular to the public, it still does not have any established forms so that there is a fine line between "Korean Traditional Musical Comedy" and another genre like traditional style folk opera ("Changgeuk"). Looking at the characteristics of the musical work called 'Korean Traditional Musical Comedy, in general, first of all, it is a performance where music and drama are played. Here, the distinctive characteristic of this musical is that 'Korean Traditional Music' is sung. And the kinds of Korean traditional musics being sung are mainly Pansori (dramatic story-singing) and folk-songs, and, in most cases, Korean traditional musical instruments are being used as accompanying music. In this paper, the researcher investigated the aspects of experiment centering around Korean Musical Group, Taroo. These days, various experiments has been repeated not only for the works of Taroo but other musical work presently called 'Korean Traditional Musical Comedy' also. Having encompassed overall performance factors including use of musical instruments, dance, acting, materials for drama as well as music in drama, the researcher has gone through experiments repeatedly. Meanwhile, however, the subject matters that make 'Korean Traditional Musical Comedy' mostly attractive to the audiences are music and songs or sounds. ["Sori" also called "Chang" (唱)] Particularly, under the current situation of our musicals, the role of "Sori" is extremely important. The factor that plays absolutely most important role in acceptance and transformation of "Sori" is the created Pansori. Since the created Pansori is composed with new rhythmic patterns and new narrative poems, it tells the present story. Also it draws good responses from the audiences owing to easy conveyance of dialogues. And, its new style brings diversification to organization of musical instruments, so then this leads to the arrangements of music for Korean traditional music instruments, as well as instrumental music ensemble, orchestra, and jazz band, etc. Likewise, upon appearing creative musics in 'Korean Traditional Musical Comedy,' professional music and vocal compositions have begun to emerge naturally. And, the song specialist and writer, of course, staffs including direction, lighting, and sounds, etc are required. That is, professional composition method are forced to be introduced to all areas. Other than this, there are many music pieces which are based on our unique songs and sounds ("Sori") and such traditional factors as use of lead singer for ceremony or chorus, and the method that puts weight on Pansori. Accordingly many things accomplished. However, it is required that 'Korean Traditional Musical Comedy' go through numerous discussions and more experiments. Above all, the most important things are the role of actor and actress, and their changes, and training of actor and actress further. Good news is there are good audience responses. 'Korean Traditional Musical Comedy' is an open genre. As musicals are divided into several domains according to the characteristics thereof, 'Korean Traditional Musical Comedy' will be able to show its distinctive features in various styles according to embodiment.