• Archives of design research
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• 제19권4호
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• pp.121-132
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• 2006

In the Western Philosophy that was centered on reason, sense has been belittled as a low level of conception under reason. However, the 21st century modern visual environment pushes away the epistemology centered on reason and puts 'sensuality' and 'sense' on its place. Especially, public films are one of the fields that rapidly reflect such changes and lead the changes. However, unfortunately, it is difficult to find such efforts that reflect the artistic and aesthetic significance of sense from the public films. It is because that sense is considered superficial and somewhat not real, while recognizing sense as the low level of conception under reason over the long history. Given the fact, this study reviews the by Gilles Deleuze, a modern philosopher who gives a new value on sense, and it would be meaningful to analyze the works of Chris Cunningham who makes films with the concept of Gilles Deleuze. After we analyzed three music videos of Aphex Twin directed by Chris Cunningham, we can ascertain that the films are based on body without Oranges, hysteric, and diagram that are suggested from by Gilles Deleuze. Analyzing recently released films centered on 'sense' in a superficial manner that includes production method or picture composition, including the films of Chris Cunningham, falls into the error of overlooking the director's aesthetics. Understanding the modern logic of sense that is newly developing, studying its substance, and analyzing the films will make a sacrifice of suggesting a new alternative.

• Journal of the Korea Academia-Industrial cooperation Society
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• 제16권12호
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• pp.8830-8835
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• 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 Korean Institute of Educational Facilities
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• 제12권5호
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• pp.25-34
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• 2005

The Educational Cultural Center for Students is a new mixed-cultural space which made around 1997 for students' education of humanism and talent with the 7th revision of educational course. This Educational Cultural Center for Students is different to the existing one because the subject of the culture is students who make creation and performance by themselves while the former ones were for seeing, hearing and feeling things. There are seven Educational Cultural Center for Students all over the country and will be built more in the future. Comparing to the former Educational Cultural Centers for Students, functional rooms in the Educational Cultural Centers for Students are an outdoor performance room, a large performance room, a small performance room of performance facility, a gallery of display facility, a gymnasium, a swimming pool, a fitness room, a table-tennis room of physical facility, a library and a reading room of a book facility, and a group room, a computer room, a singing room, a billiard room, an art room, a musical room, a dancing room, a manner room, a playing room, a cultural lecture room and a seminar room of a interest-activity facility. The result of analyzing the usage frequency is that a performance room has the highest frequency and a display room, a musical room, a music appreciation room and a physical room follow the frequency order. But this frequency does not fit for all area. By place and social situations, the frequency and space organization may be changed.

• Korean Institute of Interior Design Journal
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• 제24권1호
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• pp.64-71
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• 2015

This study aims to disclose the dynamics of Daniel Libeskind Museums by the principles of counterbalance. Balance as a dynamic concept is the settlement of instability and tension and to draw overall sense of balance by controlling new perception elements that may cope with the unbalance elements. This is based on balancing compensation and can be explained as a counterbalance. Daniel Libeskind, a representative architect of deconstructivism, creates dynamic space by using oblique lines on the plane. The study was carried out under the assumption that this space would be designed under the certain principles rather than the result of momentary feelings and the analysis was conducted by the counterpoint of music and counterbalance. As a result, Daniel Libeskind balances in a way of forming the mutual right angle by using oblique lines which cancel out the unbalance in plane composition or making the same angle based on vertical / horizontal axis. Counterbalance has been achieved in the section and elevation as well as plane and complex and diverse oblique lines were worked under the constant principle not accidental results. The axes of Daniel Libeskind's architecture have been known to follow contextualism with symbolism and historicity but it was found that a design technique considering counterbalance was used in the overall control.

• Proceedings of the Korea Information Processing Society Conference
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• 한국정보처리학회 2021년도 추계학술발표대회
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• pp.1148-1151
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• 2021

1 인 미디어 산업의 성장으로 다양한 콘텐츠 제작의 증가와 함께 영상의 분위기를 좌우하는 BGM 의 수요도 급증하고 있다. 그러나 무료 음원은 한정되어 있으며 이미 많은 영상에 쓰여 시청자에게 흔한 느낌을 준다. 특히 MCN 에 소속되지 않은 콘텐츠 크리에이터들은 개성 있고 영상에 어울리는 음원 확보에 어려움을 겪고 있다. 본 연구는 이러한 콘텐츠 제작 환경을 개선하기 위해 창작자가 직접 녹음하거나 악보를 스캔해 자신만의 음원을 제작할 수 있는 웹 애플리케이션 '플랫'을 제안한다. 본 연구를 통해 콘텐츠 크리에이터들은 독창적이고 풍성한 콘텐츠를 만들 수 있으며, 음악적 숙련도와 관계없이 쉽게 음원을 만들 수 있어 작곡에 대한 접근성이 좋아질 것으로 보인다. 또한, 딥러닝을 활용해 음악을 창작함으로써 인공지능 작곡 분야를 활성화하고 디지털 음악 시장의 새로운 분야를 개척하는 데 이바지할 것으로 기대한다.

• Journal of architectural history
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• 제16권2호
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• pp.137-152
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• 2007

The purpose of this article is making investigation of the principal composition of the twin-pagodas in Buddhist temple through ornaments of a case preserving relics of Buddha in the east and west pagodas of Gameunsa temple. This research has an important meaning in clarifying that the concept of placement two Buddhas together with lotus sutra, which was only applied to Bulkuksa temple, has been extended to Gameunsa temple. And this observation gave us a clear explanation for the principal composition at the twin-pagodas in Buddhist temple plans. The author obtained the following conclusion from this article : The cases preserving relics of the Buddha for the west and east pagodas are globally in similar form as the type of a royal palace. But the different points between eastern and western can be seen on the existence of Buddhist statues on the base floor, set-up of the gate at railings, and 4 lion statues at a coner of the base floor. In the western pagoda, there are Buddha statues above the base-floor of the cases preserving relics. These Buddha statues are composed of a boy monks and angels with playing music for the praise of the Sakyamuni Buddha lecturing the Lotus sutra at YoungChui Mountain. On the other hand, in the eastern pagoda, Buddha statues on the cases preserving relics are composed of a the Four Devas and monks as a defending God of the nation of Buddha. In the eastern pagoda, one can see something that does not exist in the western pagoda, which is a gate located in railing of a case preserving the relics. This gate described the scene of the Sakyamuni Buddha entering into the pagoda of 7 treasures. In a corner of the case preserving relics in the eastern pagoda, there is another thing which does not exist in the western pagoda. This is a sculpture of a lion which symbols the seat of Lion supporting the Buddha in the Dabotap(the pagoda of 7 treasures). When we observe the form and structure, the descriptions at the railings, the gate, the shrine, the statue of a lion, and the accessories in jewelries, at the cases preserving the relics in the eastern pagoda, one can realize that they have the same combination structures between the ones at Dabotaps in Bulguksa temple and those in China as well as in Japan, all of which represent the Gyun-Bo-Tap-Pum of Lotus Sutra. Among the distribution rules in the twin-pagodas in Buddhist temple, the application of the ideal of lotus was known to be effected only to Bulguksa temple. But from the result of the present article, it is more clearly proved by applying the Gameunsa temple that the distribution theory in the twin-pagodas in Buddhist temple was in fact based on the ideal of lotus.

• The Journal of the Korea Contents Association
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• 제14권12호
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• pp.639-654
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• 2014

What is noticeable in Changgeuk Madame Ong is that for "narrativization," a main character is replaced with Madame Ong and her mother and a reinvented story as a result thereof is the female liberation from oppression. The director sought for the completeness of the narrative with a plot line created (i) by daringly deleting the latter half (episode relating to Gangsoe's death), which was a persistent problem unsolved both in the original and its derivative contents, (ii) by diluting Gangsoe's patriarchal authority and thereby creating the ending of endless love and the fruition of love, and (iii) by severing the link between Madame Ong's doomed fate of widowhood and Gangsoe's doomed fate of death by the violation of a taboo (the key factors of the original story) and at the same time, thereby inserting the doomed fate of death by Jowang (god of fire), declaring a war against jangseung (Korean traditional totem pole), the aesthetic structure representing "fictionization," and enabling a female character to gain love, fame and life through free will and spirit of resistance. The director achieved a remarkable success in terms of composition by (i) taping into a variety of genres of music, (ii) by maximizing the effect of Madame Ong's solo, (iii) by strengthening the "uniqueness of each part" through chorus, (iv) by creating a dramatic atmosphere for the change of scene, (v) by applying a dual variation of tension (resistance theme) and relaxation (freedom theme), etc.

• Journal of Korea Entertainment Industry Association
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• 제15권4호
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• pp.157-166
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• 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 the Korean Society for Library and Information Science
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• 제58권1호
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• pp.373-393
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• 2024

This study aims to propose the considerations for developing the guidelines for recording a preferred title in musical works by analyzing the RDA rules and guidelines of several national libraries. First, RDA rules were analyzed, and the primary rules for consideration were examined by reviewing RDA application guidelines from eight national libraries that have developed their own guidelines for alternatives and options of RDA rules. Then, by analyzing the contents of each guideline, including MLA, LC-PCC, and DACH, practical considerations was to provide. First, the original language title should be adopted in the selection of preferred title, but if the title in the original language is not suitable for domestic users, the title in other languages should be used. Second, the preferred title was examined in aspects of works with one part, works with more than one part, the complete works of one author, the compilation of a specific type of composition, the incomplete compilation, and the compilation of several composers. Third, medium of performance, numeric numbers, key, and other identifying characteristics were presented as additional factors for consideration in the recording. Fourth, it is necessary to designate or present a control vocabularies for the types of compositions and the medium of performance. This study suggests considerations in developing guidelines for recording the preferred title for RDA musical works, and it will be possible to contribute to the development of rules related to preferred titles for musical works and guidelines for recording the preferred title for musical works in libraries.

• Journal of Korean Library and Information Science Society
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• 제47권4호
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• pp.411-441
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• 2016

This research examined the composition background of Miscellaneous Explanations of Seongho(湖僿說), the representative work of Yi Ik(李瀷, pen name is Seongho 星湖, 1681-1763), then selected the 443 cited references in the book, and analyzed the features of them such as the scales and characteristics of reference, the proportion of Chinese books, the ratio of latest editions and the relative importance by subjects. After examining the ratio of Goryeo-Joseon and Chinese books among 443 references in Miscellaneous Explanations of Seongho, it was revealed that there were 23.3% of Goryeo-Joseon books and 76.7% of Chinese books cited. The investigation on the editorial period of the referred Chinese books showed that 70% and more were books of the Song and pre-Song period, whereas 22.7% were books of the Ming-Qing period. The analyzation of the proportions of the reference by subject showed that the subject fields with highest percentage appeared in the order of historical books, poetry and prose collections, Confucian classics, and novels and essays. And besides these subjects, he had been interested in various subjects: Miscellaneous Schools, Confucian School, geography, regulation of systems, painting and music, dictionary, biography, encyclopedia, and so on.