• Journal of Digital Contents Society
• /
• v.5 no.3
• /
• pp.213-218
• /
• 2004

The objective of this paper is to verify the usefulness and validity of ICT-based elementary education for musical composition using multimedia technology. Cearing with the characteristic of musical education, multimedia technology, which has made dazzling progress thanks to the rapid development of computer for the last several year, is expected to be a new alternative to overcome various problems of musical education and enhance students` musical function and knowledge. In particular, if ICT-based musical education is introduced in teaching musical composition, in which many elementary school techers feel difficulties, significant education effects will be produced. ICT-based musical education method in the paper identified imitation and problems in traditional theory-based learning and musical composition class using musical instruments and, as a part of resolving the limitations and problems, instructed elementary students in how to use a computer program and applied the program to musical composition class. As a result, the method maximized learning effect and improved stusents` ability to create melodies in a short term compared to traditional teaching methods.

• Journal of Satellite, Information and Communications
• /
• v.10 no.1
• /
• pp.33-43
• /
• 2015

This study, by using SNS, is to find ways to improve the recognition of the audience on creative musical for performance planning and marketing after looking into how the choice attributes of creative musical has the different impact on satisfaction. As a result, the audiences who use SNS show that the composition of content(1st ranking), main actors(2nd ranking), reviews on musical(3rd raking), and production(4th ranking) have the impact on their satisfaction but the stage composition, staff service, satisfaction on theater, and admission fee haven't. For those who don't use SNS, however, the composition of content(1st ranking), reviews on musical(2nd ranking), production(3rd raking), and main actors(4th ranking) affect the satisfaction while the staff service, stage composition, admission fee, satisfaction on theater hardly make any effect on it.

• Cross-Cultural Studies
• /
• v.44
• /
• pp.315-342
• /
• 2016

There exists a general misunderstanding of the Musical as being both a dramatic genre and a musical genre. This misunderstanding lies in the fact that music fills the role of the drama. In other words, there exist a series of narrative episodes that help the development of the drama and music generates the ambience that corresponds to each episode. In this case, music is subordinated to the drama and thus becomes secondary. However, this paper seeks to show that in the Musical, musical composition is so strongly linked to the development of the drama that it is through the musical development that the drama unfolds. This paper seeks to explore this view through one of the most successful musicals of our time, Les $Mis{\acute{e}}rables$. A musical adapted from a novel is not the retrenchment of a series of episodes from the original novel. The process of dramatizing the novel compels the musical creators to observe what to draw out as a dramatic action. The interesting points of a musical consist of how the musical creator has reflected his understanding of the fiction through the composition of the music. This is why this paper has created a table analyzing the forty musical compositions in Les $Mis{\acute{e}}rables$. This table is meant to visualize the musical motifs employed in this play in order to explain the relationship between the musical composition and the development of the drama. The theme of Les $Mis{\acute{e}}rables$ lies in the transformation of Jean Valjean. His change includes the process of transformation from a thief to finding Jesus and his denial of being a sinner to his confessions of sinning. This paper explores the transformation of the dramatic action of Jean Valjean, which is symbolized by such themes as Misery, Love and Name established in musical form. The dramatic conflict between Jean Valjean and Javert as well as between Jean Valjean and $Th{\acute{e}}nardier$ is also explored through the composition of music. The success of Les $Mis{\acute{e}}rables$ lies in its successful constitution of music that embodies the in depth interpretation of the original play.

• The Journal of the Institute of Internet, Broadcasting and Communication
• /
• v.15 no.2
• /
• pp.229-238
• /
• 2015

This study is to look into importance and achievement on awareness of creative musical audiences, who use SNS, by the use of Importance Performance Analysis(IPA), and to find ways to improve the recognition of creative musical by performance enterprise. In other words, the study is to discover choice attributes, that need to be urgently improved, which importance is rated high but which achievement is rated low. As a result, it is learned that composition of content(memorable dialogue), admission fee(ticket prices, charges of using additional facilities), theater(parking), composition of stage(acoustics of the stage), staff services(ticket box staff, usher, and etc. are should be properly controlled by staff expertise) need to be consistently improved. In addition, it is learned for SNS non-user group that choice items such as creative musical choice attribute(admission fee), composition of stage(acoustics of the stage), production(overall music from a musical), admission fee(ticket prices, charges of using additional facilities), and theater(parking) need to be improved.

• Korean Institute of Interior Design Journal
• /
• v.21 no.5
• /
• pp.162-170
• /
• 2012

This study aims to show the possibility of approaching artistic design through the Bergsonian concept of musical vitality by grasping the expression of his musical vitality at the Chapel at Ronchamp. For the purpose of this study, the aesthetic significance of Bergson's philosophy of life was first contemplated, and a case study analysis was conducted on the vitality of music as temporality at the Chapel at Ronchamp. On this basis, the examples of his musical vitality as metaphysical reality at the Chapel were analyzed. The results of analysis are as follows: First, the Bergsonian vitality of music as temporality at the Chapel is expressed as a sense of movement-through the acoustic form, the modulor corresponding to the scale of the music, the opposite composition of musical changes, the fluid space of the music, and the light and shadow of counterpoint-as having been intended by Le Corbusier in the very process of design. Second, the vitality of music as Bergson's metaphysical reality at the Chapel at Ronchamp is expressed in the image and rhythm of music created by intuitive reminiscences. The acoustic form, the form created by the modulor, the opposite form of composition, the fluid space and the light and shadow as the melody and image of music present continuous diversity as vital flow in a uniform direction. The vitality of music as aesthetical reality is imitated by the rhythm of the music deriving from repetitive movements sensed here. Consequentry, the Chapel at Ronchamp can be seen as a vital design that expresses Bergson's notion of musical vitality, indicating that an approach toward artistic design can be realized through his musical vitality. This study holds significance as basic research on artistic design with philosophy and music as its origin.

• Korean Institute of Interior Design Journal
• /
• v.13 no.3
• /
• pp.112-119
• /
• 2004

The purpose of this study is to grasp musical expression in the Monastery of La Tourette, an architectural work produced by an architect, Le Corbusier and a musician, Iannis Xenakis based on a musical piece, Metastasis. The results of the study on musical expression in the Monastery of La Tourette, which was done through analysis of correlation in expression between architecture and music, and spatial characteristics of this monastery, are as follows: First, in modern architecture and music, the expression of the space-time continuum concept is emphasized. Second, the architectural characteristics in this monastery that constitute musical expression are the Modular, confliction and fluidity in composition, plastic (acoustic) shape and symbolic shape. Third, these architectural characteristics are found to be expressed as counterpoint, alteration, temporality, acoustics and canon of music.

• Food Science and Biotechnology
• /
• v.14 no.6
• /
• pp.738-742
• /
• 2005

We developed a musical composition and performing method for the dynamic expression of food taste, to replace the static expression obtained from a numerical sensory score and linguistic method. The musical score was composed using cognitive food sensory data gathered while eating potato chips via a computer equipped with a sound card and a master keyboard, as well as Cakewalk 9.0, Goldwave 5.0, and Windows Media Player. The music score included four lines, one representing sensory data and three reflecting three layers of human consciousness. Different time units were applied by incorporating different repetition cycles for the relevant consciousness layers. The musical scores of individual subjects differed in terms of the score pattern and its sound. The music representing food taste was played by four instruments and showed different sound and acoustic frequency patterns for each individual subject during the consumption of potato chips. The musical expression method was applied to analyze the individual taste characteristics in the cognition of food.

• Korean Institute of Interior Design Journal
• /
• v.25 no.5
• /
• pp.42-54
• /
• 2016

The purpose of this study is to provide a reference for stage planning by analyzing current state of major theaters' stage space and understanding feedback from directors belonged to theaters. Each room in total 18 theaters' stage facilities was measured and their usage and requirements were analyzed on the spot. In addition, each director provided their experiential knowledge about appropriate stage composition for musical performance. The findings are as follow: under stage machinery is not needed for musical. Tour teams prefer to use their own show-deck for set conversion. On the other hand, over stage flying system needs to be able to deal with dense, fast, and accurate scene change. The size and location of the motor room needs to be carefully considered. The number of set battens is directly linked up with the size of the motor room, which should be located lower than the gridiron. As stage sets get bigger and complicated, the number of works at the gridiron is also increasing. The grating floor has to have enough strength coping with machines lifting heavy sets. Most sound control for musical performance is being done at F.O.H. these days rather that in the sound control room. It should equip enough work area and related infra especially for tour teams. 1st gallery needs to have enough effective width, power infra for lighting fixture, and strong guardrail. Lastly, the whole process of parking-unloading-transporting equipments and sets from loading dock to stage and vice versa needs to be efficient, and this has to be carefully considered from early stage of planning.

• The KIPS Transactions:PartD
• /
• v.11D no.3
• /
• pp.495-508
• /
• 2004

Recently, in content-based music information retrieval systems, to enhance the response time of retrieving music data from large music database, some researches have adopted the indexing mechanism that extracts and indexes the representative melodies. The representative melody of music data must stand for the music itself and have strong possibility to use as users' input queries. However, since the previous researches have not considered the musical composition forms, they are not able to correctly catch the contrast, repetition and variation of motif in musical forms. In this paper, we use an index automatically constructed from representative melodies such like first melody, climax melodies and similarly repeated theme melodies. At first, we expand the clustering algorithm in order to extract similarly repeated theme melodies based on the musical composition forms. If the first melody and climax melodies are not included into the representative melodies of music by the clustering algorithm, we add them into representative melodies. We implemented a prototype system and did experiments on comparison the representative melody index with other melody indexes. Since, we are able to construct the representative melody index with the lower storage by 34％ than whole melody index, the response time can be decreased. Also, since we include first melody and climax melody which have the strong possibility to use as users' input query into representative melodies, we are able to get the more correct results against the various users' input queries than theme melody index with the cost of storage overhead of 20％.

• 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.