• (The) Research of the performance art and culture
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• no.37
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• pp.391-435
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• 2018

This is the first study in Musicology that discusses the features of Kangwon Sangkangrye(the pre-lecture ritual in Buddhism). In this thesis, I reviewed and compared the similarity and uniqueness between Kangwon Sangkangrye in "Seokmunuibom" and the one being performed these days. The musical relation between the performance shown in the historical record and the one in contemporary ritual was illustrated here based on the findings derived from the anlaysis on its bell(小鐘) performance. The analysis made upon musical sources recorded on-site shows the characteristics of contemporary Kangwon Sangkangrye. Following is a brief summary of this study. The review and comparison between Kangwon Sangkangrae in "Seokmunuibom" and the one being performed these days showed that the second type, which was significantly different from the first type, was closer to that of the historical record. The performers at Unmunsa Temple and Chungamsa Temple seemed to be following the tradition bell(小鐘) performance style which was found in the text of the historical record. Through the analysis on Kangwon Sangkangrae, I found that it has musical characteristics as follows. The vocal range of type 1 and type 2 was mostly performed within Minor 7th and didn't exceed the perfect 8th. The melodic structure of type 1 starts with do'-la of naedeureum and ended with the melody which downscaled from do' and finalized from mi to la. Usually the mode was in menari-tori but at some lecture halls a few cases found to be upscaled from sol to la which differentiates it from the typical menari-tori of folk songs. Like the typical way of traditional rites, the singing was divided into two parts: the leading call and the following choral response. Most were sung to be one syllable on one or two tones or one syllable lasting for several tones and the musical forms were varied by musical pieces. Meantime, Sangkangrae at Haeinsa Temple was differed from that of the other temples in terms of ritual procedure and vocal style. It added Korean version of and the lead vocal skipped the first phrase of the Sasul. The melodic structure of Type 2 started with do'-la of naedeureum and was finalized as the same way of Type 1. The mode of was not the same as typical menari-tori but the Jeongrye(prostration) and Balweon(a great vow) were identical to the menari-tori of folk songs. The singing was done in two forms, solo and unison, and the lyric-attachment of Gesong was one syllable for one or two tones and that of Jeongrye and Balweon were one syllable for one or two tones + one syllable for several tones. The musical form of Jeongrye is A-B-C and A-C. Balweon didn't display a certain periodicity but still maintained sense of unity and formality through repetition of the finalizing melody.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.136-149
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• 2007

This study researched the costume manufacture process by having the musical 'Christmas Carol' as an example and specifically presented the costume manufacture process of an actually performance work, thus it aimed to be helpful theoretically and realistically, by allowing theatrical costume manufacturers and majors in theatrical costume to be informed of the systematically practical affair process of the theatrical costume manufacture and by exhibiting the research work of costume composition aiming at reproducing a silhouette in the process such as costume composition and sewing, and the effectively manufacturing methods such as the costume composition application and the sewing method development aiming at the activity of performers. In the empirical research, it analyzed the features of characters and arranged the manufacture points while actually manufacturing the performance costume, and clarified the systematically performance costume manufacture process such as a manufacture meeting${\rightarrow}$costume list preparation$\rightarrow$work-instruction sheet preparation$\rightarrow$pattern manufacture$\rightarrow$sewing$\rightarrow$performance and inspection. Through performing the manufacture of the really performance work, it is hoped that this study contributes to the development of performance art circles, by presenting a step and a method of professionally theatrical costume to the performance manufacturers and the theatrical costume manufacturers at present when the theatrical costume is solidifying its position as a professional sphere, in the performance and an, has a meaning as the initially empirical research, which can exhibit as a guide of realistically and empirically educational contents for theatrical costume aiming to bring up professional staff for theatrical costume, and becomes help in the efficiently theatrical costume manufacture realistically.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.45-54
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• 2021

Jeong Sun-Ah built up her performance career for twenty years with bold and energetic acting and solidified her status as a leading actress of Korean musical since her debut. To benefit from the value of her experience this study performed an in-depth interview with her, applying the Theory of "Projection" and "Back-projection", which are the psychological principles of acting, and derived "acting(entering the roles)" and "de-acting(leaving the roles)" techniques. As result, Her acting mechanism involved emptying her ego, embodying a persona by projecting the role created by intensive exploration of materials like previous performance, film of the same title, original novel, and script, and then getting the ego back by back-projecting through dynamic activities such as overseas travel and dance. She pre-studied the roles by physically visiting sites that are important to the characters. She was unique in that she pursued a difference by changing vocal trainers for each musical production and undertook more intense physical training than vocal practice to achieve powerful singing performance. In most of her works (75%), she suffered from aftereffects such as depression, narcissism, hysteria, and insomnia due to disorder caused by breaking away from the roles. However, she relied on self-help and alternatives are needed in the future such as reinforcement of expert counselling. Jeong Sun-Ah appeared on an average of 1.6 productions per year, practiced for an average of 1.7 months, and performed for an average of 3.9 months with an average of 100 days of break between productions. Her performance record from this research demonstrates her constant preparation and passion, as well as the know-how of reserving and distributing energy. So, it has a valuable implications for acting education and self-management of actors and actress.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.175-187
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• 2020

The purpose of this study is to discuss the elements and meanings of the performative scenography which has been revealed through the new directorial interpretation and deconstruction process of the musical 『All Shook Up』. The performative scenography characteristics after postmodernism aim to create individual active perceptions and various social meanings through audience's voluntary and particular emergence. To this end, the theoretical foundation of scenography was examined by periods in advance. Based on this, I attempted to establish performative scenography for synthesized scenic and media design through the reconstruction process for the 『All Shook Up Travelers』. As a result, I set up visual narrative based world of 『All Shook Up Travelers』 which was produced by text-based intense images for a direct medium in order to expand actors' inner narrative and established unique performative scenography of its own: 1. enhancing the adapted one's narratives for the actors' and audience's co-existence and detachment, 2. delivering its own independent meanings which have double meanings, 3. encouraging audience's critical and active perception experiences through collage and montage of media.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.237-249
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• 2020

This study analyzed the characteristic factors of musical actor that affect the audience's loyalty to the performance by inducing the audience's sensory presence which is the unique characteristic of the performing arts and analyzed the mediating effects of audience's sensory presence between the characteristics of musical actor and audience's loyalty to the performance. Actor's characteristics which are an independent variable were composed with the appearance of actor, acting skills, sing ability and actor's known degree. Audience's sensory presence which is mediating variable was divided into immersion and identification. Audience's loyalty to the performance which is a dependent variable was set as intention of recommendation and intention of revisit the performance. The result of analysis shows that identification have significant mediating effects in all independent variables except between actor's known degree and the audience loyalty to the performance. It shows immersion have also significant mediating effects among all independent variables and the audience loyalty to the performance. The multiple mediating effects of Immersion and Identification between Actor's characteristics and Loyalty to the performance have significant effects all parts. Especially, The result of this study shows that indirect effects that arrive to the loyalty through immersion or identification are larger than the direct effect that actor's characteristics affect to the loyalty to the performance. Actor's characteristics which affect Audience's loyalty to the performance by mediating Audience's sensory presence are shown in order of appearance of actor, acting skills, sing ability and actor's known degree. These results suggest key factors of musical actor's characteristics which lead loyalty to the performance by mediating Audience's sensory presence to musical producers and directors and actors.

• Advances in nano research
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• v.17 no.3
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• pp.285-291
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• 2024

The paper considers one of the new applications of computer methods in music composition, using smart nanobeams-an integration of advanced computational techniques with new, specially designed materials for enhanced performance capabilities in music composition. The research applies some peculiar properties of smart nanobeams, embedded with piezoelectric materials that modulate and control sound vibrations in real-time. The study is conducted to determine the effects of changes in the length, thickness of nanobeams and the applied voltage on acoustical properties and the tone quality of musical instruments with the help of numerical simulations and optimization algorithms. By means of piezo-elasticity theory, different governing equations of nanobeam systems can be derived, which are solved by the numerical method to predict the dynamic behavior of the system under different conditions. Results show that manipulation of the parameters allows great control over pitch, timbre, and resonance of the instrument; such a system offers new ways in which composers and performers can create music. This research also validates the computational model against available theoretical data, proving the accuracy and possible applications of the former. The work thus marks a large step towards the intersection of music composition with smart material technology, and, when further developed, it would mean that smart nanobeams could revolutionize the process for composing and performing music on these instruments.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.1-9
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• 2014

The purpose of this study was to identify the landscape characteristics of Youngnam-Lu by performing text analysis of related Korean poems over 600 years. A total of 354 poems were quantitatively analyzed for keywords and terms in particular categories such as nature. As a subsidiary analysis, topographic map was examined using CAD along with analysis of antique maps. Of the 354 poems reviewed, keywords frequently used are: 'Scenic sites'- 56 times, 'Long river' (長江) and 'Long stretched forest'(長林) - 39 times each, 'Superb scenery'- 31 times, 'Large field scenery'- 19 times, and 'Thousand-layered mountain view' - 14 times. In total, these keywords occurred 159 times in 44.9 % of these poems.1) The words used frequently in these poems, especially for those fall under category of nature, can be scored into different subcategories such as natural phenomena and geographical features. Occurrences of terms in each subcategory were main criteria for the analysis and the following is a list of subcategories with frequency in descending order: Natural phenomena (44%), geographical features (33%), plants (14%), and animals (9%). Among natural phenomena, phenomena related to sky were most frequent, 41 times, which might be due to superb sky view from Youngnam-Lu. Also geographical features of Youngnam-Lu were reflected in these poems, and the most prominent features were 'flow of the river' and 'Sand island' located in the Milyang River. These poems contained fairly large number of terms related to musical instruments (8%) which suggest that Young-Nam-Lu as a place where various musical instruments performances were held.

• Journal of Music and Human Behavior
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• v.11 no.1
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• pp.1-19
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• 2014

The purpose of this study was to investigate the immediate effect of Patterned Sensory Enhancement (PSE) technique on the motor function of the affected upper limb in hemiplegic stroke patients by comparing the use of PSE and simple rhythmic cue. A total of 16 stroke patients were recruited from rehabilitative hospitals. The participants were assigned to the experimental group (n = 8) and control group (n = 8). While performing six different upper limb motions, musical stimuli applying the PSE technique was presented for the experimental group and simple rhythmic cue using the metronome was applied for the control group. The results showed that while the significantly increased range of motion (ROM) was found in the experimental group with the immediate use of PSE (p < .05), the control group did not show no significant change. This study implies that the use of musical elements in cueing for upper limb motion immediately leads to significant improvement in ROM by providing sufficient temporal, spatial, and dynamic information for expected motor performance.

• (The) Research of the performance art and culture
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• no.36
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• pp.103-135
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• 2018

The objective of this study is to re-examine the theory of Pansori (Korean musical storytelling genre) originating in Chinese tale-song literature. The said theory, first presented by Kim Hak-ju, succeeded in confirming the common points and association between Pansori and the Chinese tale-song literature, but failed to present the supporting ground for proving that Pansori originated in the said Chinese genre by comparing the contents of works and their performance type. In actuality, it was confirmed that the common factors of Pansori and the said Chinese genre naturally resulted from the performance situation where both genres should involve one singer chanting epics and simultaneously performing various roles and functions. In addition, it was confirmed that such identity of performance environment made the Pansori clown theory and the Gosagye tale-song(鼓詞系講唱) theory very similar. In addition, it was confirmed that, for one singer to present the wide spectrum of epic to the audience, the realistic description was the main part of literary style of both tale-song literature and Pansori, and furthermore it was revealed that, in the literary style of both tale-song literature and Pansori, the mixed use of time and temporal penetration were free. If a long performance of musical storytelling can be conceptualized in terms of 'tale-song' or 'oral epic', the Chinese tale-song literature and Pansori had similarity in the bigger frame of 'tale-song' or 'oral epic' and yet developed to have their own features.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.291-302
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• 2019

In this paper, we first looked at the structures and characteristics of the musical instrument to study the tone of haegeum, which is the only Korean musical instrument made using all the eight ingredients that make gugak instruments, and which is now the most frequently used in fusion gugak or pop music production sites. In addition, for the comparison of the various tones of the haegeum, under the same conditions, we analized how the haegeum's tone changes according to the types of Wonsan, which works as the bridge of the haegeum. Four Wonsan made of Park, Rosewood, Maple and Black Dan were used in the experiment, and low, medium, and high notes were recorded to compare the inner and outter open strings and the sound ranges. By doing so, we looked at the composition of frequency characteristics and the distribution and analyzed the timbres according to the types of Wonsan. Based on this study, it is expected to help the performers in the field choose the proper Wonsan according to each harmony part, rather than just to their tastes when performing Gugak orchestral music or haegeum ensemble. We also look forward to playing haegeum and using the timbres in various combinations of Wonsan that suit the genres at the pop music industry.