• Journal of the Korean Society of Fashion and Beauty
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• v.2 no.3 s.3
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• pp.96-101
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• 2004

This study suggests the basic resources for men's cosmetic which shows in history. Because not only ancient chief but also modern French noble men made up in the area where succeeded the traditional national cosmetic, when it was seen through historic or world, the men's cosmetic was generated and was more luxurious and presence than women. But since the French revolution, men was limited the collection of fashion, also the luxurious cloth and cosmetic disappeared. It was 1960s that men's cosmetic based rock musicians reappeared. And then, rock musicians made up luxuriously. The early cosmetic of rock musicians began from the protest's meaning for old fashioned value and fixed society. But gradually, it was changed the style that valued appearance's beauty. In the past, movie star's hair style and cloth were the basic fashion, but now the sportsmen are recognized heroes and their cosmetic is prevailing. Today, the basic meaning of men's presence fashion is that men and women's each role and self expression is allowed and appearance's decoration showed from sex roles disappeared. Men is limited body's beautiful expression and collective range but they fluently express each self imagination through work, special hobby, female attire and drag queen. From various men's beautiful expression, we will know that human beings want a society which is recognizing different self expressions.

• (The) Research of the performance art and culture
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• no.43
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• pp.357-380
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• 2021

Akjang yoram 『樂章要覽』 is a book that summarizes only the important contents from the Akjang 樂章. Akjang 樂章 is arranged in the first half, and score 樂譜 is arranged in the second half. It seems that Akjang yoram 『樂章要覽』 passed through a total of four stages through the time when the handwriting and the lyrics were written. The presence of various handwriting and traces of modifications means that it has been passed through by several people, so it is not unrelated to the fact that several traces remain on the back of the cover of Akjang yoram 『樂章要覽』. The first part of the Akjang 樂章 is a method of presenting the name and lyrics of the accompanying music based on the ritual procedure, and in particular, the lyrics are written in Chinese characters and Hangeul sounds to improve readability. The score in the second half complies with the ritual procedures, but boldly omits overlapping melodies, and is composed based on the music, and various symbols are used to capture the expression of court music. This structure is a reflection of the direction we practiced to harmonize with the music after prior ritual procedures and diction. This was a device to increase the efficiency of music education and music practice for the court musician. The characteristics of the musical pieces are that they consist of essential musical pieces that must be mastered as musicians. In addition, the name Kim Hyung-sik 金亨植 is noted on the back cover of Akjang yoram 『樂章要覽』, and he was a court musician who was active in the age of King Sunjo 純祖. In other words, the musical pieces included in Akjang yoram 『樂章要覽』 are the core repertoire played by court musicians like Kim Hyung-sik 金亨植. Akjang yoram 『樂章要覽』 is a 'music practice booklet' containing the daily life of court musicians. Akjang yoram 『樂章要覽』 is a booklet designed for the purpose of teaching the court musicians to sing while correctly pronouncing the lyrics in major ceremonies. It is even more noteworthy in that Kim Hyung-sik 金亨植 was an owner. In addition to the fact that Kim Hyung-sik's name remains, and in the practicality of being used by various court musicians reflecting and modifying the changes of the times, it is meaningful in that it contains the path of court musicians who spent a lot of time and time to transmit court music.

• The Research Journal of the Costume Culture
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• v.7 no.2
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• pp.205-210
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• 1999

This study is concerned with the costumes of musicians and dancers of the Three Kingdoms recorded in Sam Kuk Sa Ki(三國史記). Costume names of musicians and dancers of Silla, Koguryo and Backje were traced and examined for this research. Results of this study can be summerized as follows : 1. head gears of entertainers of the Three Kingdoms were different from one another. 2. Wide sleeved robes were worn by the entertainers of the Three Kingdoms ; however, entertainers of Silla and dancers of Backje wore purple robes whereas entertainers of Koguryo wore yellow robes. 3. Belts of the entertainers of Silla wore belts, made of red leather and decorated with gilt ornaments while the entertainers of Koguryo wore belts made of purple ra. 4. Entertainers of both silla and Koguryo wore black leather boots where as dancers of Backje wore leather shoes.

• Journal of information and communication convergence engineering
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• v.2 no.4
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• pp.233-236
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• 2004

This paper shows the easy way to composite a music for non-musicians. Namely, only select a chord and put it to special program which called "the chord composition program", and then the composition program creates the rest chords. After doing this process, non-musicians overwrite their own melodies in accordance with created chords. Finally, they can perform their own music with the sound of master-keyboard and other sound sources by using the band-in-a-box program.x program.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.7 no.7
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• pp.1545-1550
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• 2003

In this Paper, systematic quad-tree array method for easy composition is proposed, which is based on music cord. The appearance of the computer composition system, so called MIDI, expects that non-musicians can make musics easily, but, in fact. non-musicians still compose hard. This approach shows that a computer makes cord progress through a database, which in-putted all practicable cord progress. Experimental results showed that this method is superior to conventional method such as. composition time as well as that of method.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.14 no.9
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• pp.4204-4211
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• 2013

This research is the comparative analysis of Jim Hall's master work "Careful" and "Waltz New" who is the most influential guitar player of the present day. I tried to analysis musical inclination and direction comparison with contemporary musicians in this study. Jim Hall wasn't the person who did satisfy with only playing guitar as a famous artist but trying to research and create a new thing continuously with this his music. I am considering that his music has been great implications for contemporary direction.

• Journal of the Korean Society of Costume
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• v.60 no.6
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• pp.62-73
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• 2010

The purpose of this thesis is to make an effective Korean Hip Hop culture and suggest a new style direction in classifying the types of fashion styles of the Hip Hop musicians and studying their features. They are surveyed in stage costumes, hair styles, make-ups, accessaries, and total fashion styles, and then classified into Normal Hip Hop Style, Casual Hip Hop Style, Sporty Hip Hop Style, Mix & Match Hip Hop Style, and Classical Hip Hop Style. The results of the study are as follows: First, Normal Hip Hop Style is the most general and universal Hip Hop fashion type. They wear clothes in bigger sizes and exaggeratively. And also a cornrow hair style, a tattoo, and a piercing represent marked individualities. Second, Casual Hip Hop Style is more active and practical than Normal Hip Hop Style. Their blue jeans and T-shirts express more simple and polished style. And also they make variable fashion styles and hair styles such as a cornrow hair and a buzz cut. Third, Sporty Hip Hop Style is from B-boy's clothes when they do active and violent break dancing. As NBA basketball games are popular, they wear training clothes, breeches, big T-shirts, and jumpers & caps on embroidered sport team's names. Their hair style is short or natural and also they have caps or hoods to present active mood. Fourth, Mix & Match Hip Hop Style is existed variable elements in one style. The typical type of this style is jacket & blue jean. It is characterized by dress shirts, neck ties, blue jeans, sneakers, beards, and moustaches. Fifth, Classical Hip Hop Style is from African Americans. They try to express assimilated appearance of Anglo-Saxons. They wear black suits, shoes, hats, and sunglasses to represent formality and elegance. In the above results, there are variable fashion styles in one Hip Hop music genre and also fashion style is changed with musical inclination. This thesis is an important guide to produce variable and creative Hip Hop fashion styles in Korean Hip Hop culture.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.172-183
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• 2007

The purpose of this study is to examine the dress and its ornaments of low-level officials shown in Tamna-Sullyeokdo, the paintings of the inspection tour of Jeju Island. The low-level officials Include low-level soldiers-sungjungun, gichigun, foot soldiers, cavalries, gunroe, ilsu, artillerymen, najang, and sawon-, musicians, servants, and kisaengs in government employ. 1. Different types of low-level soldiers tended to wear different kinds of clothes that is worn under an outer garment and to wear different coats and trousers depending on an outer garment. That is, sungjunggun, gichigun, foot soldiers, and cavalries were jeonbok over a jeogori and baji. On the other hand, gunroe, ilsu, artillerymen, and najang were houi or jakui over a jeogori and baji. However, Sawon simply were Jeonbok or armer or they wore Cheolik in formal occasions. 2. Musicians wore a jeonlib, a type of hat, decorated with an ear of barley and a red houi over a Jungchimak, a man's outer coat with large sleeves. Musicians wore colorful red clothes in order to add to the amusement during military trainings or banquets. 3. Servants in government employ had their hair in plaits and wore a jeonbok over a Jungchimak or baji and jeogori. However, when they dance during banquets, they were cheolik and jeonlib decored with/without an ear of barley or red flowers. 4. Gisaengs in government employ wore a gache on their head and wonsam, a woman's full dress during big occasions. They, on the other hand, wore a jeogoli and chima for regular occasions.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.48-61
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• 2008

This study aimed to examine emo fashion, a very recent music-related fashion trend spreading fast amongst youths, and understand emo ideas and methods of expression for a greater understanding of contemporary youth sub-cultures and fashion trends. Documentary research, positive research and in-depth interviews were used throughout the study. 4 Korean emo bands and 4 U.S. emo bands were selected based on music chart rankings, and a total of 37 photographs from the bands' Internet websites were selected, and their clothes shown in the photographs were examined. 5 Korean emo band musicians were subjects of in-depth interviews, and they were asked about their emo culture, music, fashion, ideas and styles, and photographs were taken of the subjects and evaluated, too. Lastly, Korean and U.S. emo kids were studied through photographs, and comparatively analyzed. Both Korean and U.S. emo musicians wore slim silhouettes, skinny jeans, t-shirts, sneakers, black, studded belts and plastic-framed glasses. Korean fashion expressed a less depressive atmosphere with color and other details compared to the United States, and did not prefer dark black eye make-up, which United States emo style appeared to express frequently. Korean musicians' emo fashion was closer to other youth fashions, whereas U.S. emo fashion included more formal styles such as ruffled shirts and pin-striped vests. Korean emo kids wore clothes not much different from most Korean youths, but U.S. emo kids wore a lot of eye make-up and black t-shirts with graphic or skull prints, and had more geometrical hair styles, as if cut at home. The reasons for such differences were found to be a longer emo music and culture history in the United States leading to more elaborate fashion expressions and a difference in the states of mind, such as Korea pursuing to express love, and the United States pursuing loneliness.

• Journal of Music and Human Behavior
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• v.9 no.2
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• pp.19-34
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• 2012

The purpose of this study was to investigate the empirical elements of non-Korean traditional musicians in the process of Pansori music listening. 5 non-Korean traditional musicians who are not professionally trained Korean music were participated in this study. The data were collected in depth interviews and analyzed from modified ground theory method. The findings showed that the elements of performer's voice, Chang-bub, contents, Gosu's buk sound and Gosu's role evoked various physical, emotional reponses and thoughts in all listeners. Through these responses the listeners awared internal issues related to inner problems and positive intervention aroused inner feelings. Also, emotional responses and awareness were reorganized their negative emotion and resolved through the different dimension of Pansori music.