• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.2
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• pp.583-589
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• 2017

The 1900s in New Orleans, the harbor city, was indeed an era of confusion because there were various ethnic groups and races. Songs that had been sung by slaves taken from Africa, Black spiritual music, blues, British folk songs, French folk music, ballet music, Spanish dance music, and the march of military bands were mixed with Rag Time to achieve diversity. This developed the beginning of jazz. While swing jazz was most popular and loved by the public during the 20th century, the bebop preferred the small scale organization of musical instruments and developed as a form of jazz featuring the impromptu musical performances. Later, cool jazz, a new style involving the fast and complicated code progress, emerged with free jazz, which features the fundamental rupture from the tradition of the jazz. Miles Davis, who introduced the rock beat in jazz, started fusion jazz. Although jazz has been named differently depending on the era, the main attraction of jazz lies on improvisation. In other words, despite a small changes in code progress and rhythm, the most important thing the player considers is improvisation. Some famous players who lived in the same era followed the whole atmosphere but each had their own style. So, even when they did play the same song, they revealed their style in solo parts despite the same head.

• Journal of Music and Human Behavior
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• v.9 no.2
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• pp.53-67
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• 2012

Improvisational music therapy is known to promote social engagement in children with autism. This study investigated salient features that characterize the engagement of the child with autism and the therapist in improvisational music therapy. Through video analysis of the children's behavior, this study sets out to investigate what engages children with autism into mutual play with the therapist in improvisational music therapy by measuring the shared musical elements between the child and the therapist during musical synchronicity episodes and the children's choice of instruments. A repeated measures, a crossover design was employed in two different conditions (n = 10). Children were randomly assigned into two groups; group 1 participated music therapy first, followed by play therapy second. Group 2 followed the reverse order. Specific target behaviors were analyzed in the selected sessions 1, 4, 8 and 12. As expected, improvisational music therapy produced markedly more and longer events of musical synchronicity in children with autism than the play sessions with toys (p < .001). Rhythm and dynamic appeared to be the two most salient elements during musical synchronicity events between the child and the therapist. Observational findings confirmed that horns and whistles were the most frequently selected instruments in music therapy, whereas a dollhouse set was in play therapy by children with autism. The clinical implications and the details of these findings are discussed further.

• (The)Study of the Eastern Classic
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• no.33
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• pp.413-435
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• 2008

This study is purposed to analyze the appearances and functions of ellipsis of case markers through the Hangul letters of Hyun-Poong Kwak's family in the early 17th century. Hangul letters appear more colloquial than typography, and ellipsis is the one of main features of it. Generally, 'ellipsis' occurs when a constituent of a sentence deliberately leaves out of a sentence, because it is repeated or can be deduced by the context or occasion. As Hangul letter is written for a specific person, 'ellipsis' occurs more often than typography written for unspecified individuals. The ellipsis of case markers are not an exception. The ellipsis has functions as follow. The first, function is 'brevity.' Communication can be more convenient by ellipsis. Next will be 'informality.' Informality caused by ellipsis can make people express their thoughts and feelings fluently and naturally. It is the reason that spoken language has more frequently occurred ellipses than written language. The third function is 'quickness.' The same information can be delivered more quickly by the sentence using ellipsis than not using. In the 21st Century, ellipsis is misused in netizen communication owing to the quickness. The last function should be 'the effect of a literary style.' The effects can embody through ellipsis such as 'rhythm effect', 'letter style effect', 'translation style effect.' As a result of analyzing ellipsis of case markers, frequency follows the order below.[subjective objective > Locative > Dative > Commutative > Instrumental]

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.343-362
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• 2020

English is a stress-timed language that has a phonetic system in which the speech is restructured by stress changes. On the other hand, Korean is a syllable-timed language in which each syllable is pronounced at almost the same length and intensity, and Korean and English have distinctly different metrical systems in general speech. However, as the language of the lyrics in K-Pop music is mixed in both languages, Korean and English, the Korean lyrics in K-Pop music have a metrical system by stress changes as in English. The writer's view is that the change in the metrical structure of Korean lyrics is inevitable in order to sustain the new Korean Wave. Therefore, in this study, dance music - a major genre of K-Pop music that focuses on rhythm expression - is classified into 1998, 2003, and 2009 according to the changes in the Korean Wave, and the metrical structure of each period is compared and analyzed. Based on this, the current K-Pop metrical structure features are derived and the K-Pop Korean writing method is proposed that deviates from the existing limited writing method which allocates one syllable per note. The author hopes this research will be used as a methodology for writing lyrics in Korean songs in K-Pop, as well as a way to encourage the use of Korean lyrics.

• Journal of the Korean Society of Costume
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• v.22
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• pp.263-276
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• 1994

The achievement of notable social reoforms attained during the period of 19th and 20th centuries needlessly speaking remodelded the social environmental into several different patterns such as :1) high industrialization 2) propensity to consume 3) up graded overall social stands. Accordingly the industrial world of the but-tons too established the mess production syhstem by breaking from convention of hand-craft work of 17th century. The raw materials used in the production line on buttons during the 20th century are almost all-kind of materials one can possibly named including cheap plastic which enabled production lines to produce cheaper but higher productivities of the buttons being produced, The design (incused design) used in the 19-20h centuries are : men landscape, sports features, birds, livestocks, bugs, or geomatric features, tec, 1, The classification o f the buttons by materials Techniques shapes colors marking (Incused design) used in the productionof buttons in the England United States of America Laska Italy france Denmark Japan and India are categolizzed as : natural raw materials and syntetical resines. 1) Of the natural raw materials used are : Matal Enamel Iodine Agate, Coral, Green jade(Jasper) Granite, Wood, Ivory, Horn and bone etc. 2) The sythetical resin used in the button in-dustries are : Artificial jewell glass Acrylic material Styroform Celluloid and Nylon etc. 2. The thecnique quoted in producing buttons are hand craft work inlay work precision casting press mosic dye etching, processing, engraving and embossed carving etc. 3. The major designs used in the buttons in -dustries are : Round shape however elliptical column angular and edge shape often used. 4. The colors used are : The multi-colors were highly used than mono-colored materials such as : Adjoining Color and Contrast Color. The highest consideration to be considered in choosing the colors for the buttons are harmonization and matching factor with the garment or dresses to be wore. 5. The major design(incused design) on the buttons are embodiment and the design were also used in order of abstractive-combination abstractive with has offers much surprising. The button industries during the 19th and 20th centuries were not only the determination factors those can judge the value of self-pride of Nation and which were far beyond the in-dustrial arts in those days but also highly refelected and influenced by cultural sense ideology and self-pride of the Nation of those period. The followings are details of the role of the buttons categolized in the order of functional ornamental and symbolical aspects : 1. The functional role : The functional role of the buttons were simply designed for dress how-ever the buttons beyond from this role of function now a days. 2. The ornamental role : The ornamental role of he button beyond from this role of the button were effectuated by : 1) shape materials colors 2) technique locations size and design (incused design) 3) The ramaterials used for buttons shall not be over looked because it is highly depends on the taste sense and combination of harmony with the garment to be wore. 4) The color of the buttons are made well contrasted with the color of garments just as in the case of other artistical area such as matchs with the color of garment of contrast with brigtness of colors contrasted as complementary color and so and so. 5) The technique being adoped are: precision casting press handcraft inlay work etching mosic etc,. Since the buttons are no longer a simple catching devise used to fasten together the different part of the dress but now it has formed own and occupied the independent role in the garment or dresses location can be de-termined and varying depending on the ideas of designers. The size of the buttons has no specific limits, However the variation has widely dependined on the entire circumperence rhythm contrast harmonization of the garments. 3. The symbolical role : Since the button is no longer a just a simple devise for catching and fastening device used fastening together the different part of the garments but now were built a independent area as major part of the Garment and well reflected all kinds of occupations political background cultural as-pect etc. on the buttons. The design of buttons in the western circles are more simplified but they are polished looks and their techniques of manufacturing are comination of both machanis and handcraft. The colors used in the buttons are pretty well harmonized with garment(dress). Almost all kind of materials can be used in the but-tons however materials used in the buttons are : Bone of livestocks ivory, turtle shell are no longer used because the prevention of cruely of animal. On the contraly the level of buttons indus-try of Korea is far to reach and catch up with the level of western circles. It is highly suggested therefore the but-tons industrial field of Republic of Korea shall place and encouragement in producing beter industrial environment of the buttons based on the traditional and cultural aspect of republic of Korea to produce both manufacturing of qulified and best designed and colored buttons.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Journal of Korea Entertainment Industry Association
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• v.15 no.5
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• pp.55-68
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• 2021

The purpose of this study is to analyze the characters and narratives of series films and to extract corresponding elements of film music to compare and analyze how musical elements were utilized. The scope of the study was analyzing the story structure and characters of the films "Mary Poppins" and "Mary Poppins Returns" and the corresponding film music. After comparing the contents of the film "Mary Poppins" and "Mary Poppins Returns," the film matched the film music equivalent to the similar scenes of the two films. As a result, seven of the 11 songs of "Mary Poppins" overlap with those used in similar narratives of "Mary Poppins Returns", and eight songs overlap in "Mary Poppins Returns". Seven songs from "Mary Poppins" and eight songs from "Mary Poppins Returns" can be divided into nine scenes in total when connected to a common narrative. Among them, "A Spoonful of Sugar" from "Mary Poppins", "Jolly Holiday", "A cover is not the Book" from "Mary Poppins Returns" and "Triple light fantastic" were overlapping songs with narratives. Based on this, it analyzes leitmotiv film music, focusing on characters from the films "Mary Poppins" and "Mary Poppins Returns." The common leitmotivs in the two films are Mary Poppins leitmotiv, Lesson leitmotiv, Lullaby leitmotiv, World leitmotiv, Chimney Sweeper leitmotiv, Up & Down leitmotiv, Chimney Sweeper leitmotiv, and Sky leitmotiv. The characteristic rhythm and pitch used in Mary Poppins leitmotivs were used in the overall song featuring Mary Poppins. Through this, the elements of music symbolizing Mary Poppins, a key figure, were matched to the films "Mary Poppins" and "Mary Poppins Returns" and modified according to the narrative flow. The analysis results of this work have theoretical significance in that it is necessary to analyze the narratives and film music of series films to discover common features and consider how they are matched in theoretical terms.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.189-219
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• 2020

This study is an analysis of Handol Heung-Gun Lee's Tarae, which is a coinage combining the Korean words for "playing an instrument" and "song", in terms of narrative and aesthetics. The components for analysis are the phenomena and nature of binary oppositions between nature and human beings, between alienation and interest, between division and unification, and between diaspora and people of the national community. Tarae in the period from the late 1970s to the early 1990s described the experience of pain and loss from non-resistance and disobedience in protest against social problems that emerged during the era of miliary dictatorship, such as industrialization, urbanization, reckless development, Westernization, university-oriented education, the gap between rich and poor, human alienation, and the conflicts arising from the division of the nation. After Handol overcame the lack of creative motivation with self-reflection and effort, Tarae took the form of a diaspora epic meta-narratives integrating the "sound of nature and his true nature" and "the awareness of diaspora and the spirit of the Korean people". The epics of the homeland, the national soil and the people, which began with "Teo", became more intense in terms of a sense of diaspora as they shifted their focus from an origin to a path with "Hanmoejulghi" as the turning point. Handol seeks inspiration in the source of narrative rather than in music. His Tarae focuses on "adding rhythm for lyrics". For this reason, the semiotic features of Tarae have a limitation in that its extrinsic phonology is simple even if its intrinsic meaning (i.e., emotion of sadness) is profound and subtle. In order to elicit sympathy from the audience and impress them, it is necessary to strike a balance between the implicit (semantic) part and the explicit (phonological) part. To share the emotion of sadness with more people, it is necessary to strengthen phonological elements. Sympathy for sadness and deep impression on the audience are more often induced by the mood of similar sentiments than by the stories of the same experience. The aesthetics of sadness in Tarae began with the narratives of past experience which were expressed in the contexts of loss, loneliness, and poverty that Handol had experienced since childhood. However, the aesthetics of sadness, deepened over the period of a long hiatus in Handol's career as a composer, formed the narratives of ultimate salvation, embodying even the diaspora experience of others (e.g., displaced people, overseas adoptees, ethnic Koreans in Russia, victims of Japanese military sexual slavery, etc.). This gave Tarae the potential to go beyond the limits of the ethnic group of Korea. Tarae, as a "dispersed sound", can benefit from the appeal of deep sadness at the point of contact with other forms of world music. It may form a global diaspora discourse because Tarae is oriented towards interculturalism rather than anti-multiculturalism. The future challenge and goal of Handol's Tarae would be to continue to find areas of sympathy and broaden the horizon of awareness as diaspora music.

• (The) Research of the performance art and culture
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• no.42
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• pp.257-290
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• 2021

The Wonju Nongyo (agricultural work song) is geographically classified as eastern minyo (folk song) which has many distinctive, regional features such as tunes, forms and the use of a melodic line. There has been growing attention to the transmission value of the nongyo including the Wonju Eorirang of the Wonju Origol Nongyo and its region of origin. The Wonju Nongyo is of great value and worthy of preservation in the western part of Gangwon Province. For this reason, it seems fairer to say that a focus should be directed towards establishing the identity of the song and increasing the contextualisation of transmission. At the same time, the preservation association's efforts in passing the traditional song down and education activities fairly deserve equal attention. In addition to the way the folk songs are handed down, a discussion on the facilitation of their use will be required. An in-depth discussion about the restoration and use of the song will be encouraged in a multifaceted manner. Unfortunately, few of the previous literatures on nongyo has gone so far as to investigate Arirang as a separate research topic. In fact, the Wonju Origol Nongyo should be viewed as an intangible cultural asset that paved the way for performance artistry of the Korean agricultural work songs to be seen at a national folk art festival. From the perspective of regional characteristics (traditionally termed "tori"), the Wonju Eorirang represents the cultural value of the manners and customs of our locals which constitute unwritten and neglected literary property and musicality of the song. Particularly, a more attention should be paid to making a record of woodcutters and diversity of farmers' small cooperative groups. The existence of the Wonju Eorirang indicates that the melodies to which the song are sung in Nongyo are of infinite variety. A minyo-singer unfolds various journeys of life through various modes and structure of epic chants, ranging from first encounter, love to marriage, realistic problems to relationship with husband's family and death. The epic chant of the Wonju Origol Nongyo contains a rich variety of regional sentiments about life. In particular, the epic chants of the Galtteukgisor and Ssoeltteukgisori are a genius example of sexual satire and a sense of humor. In the past, the agricultural work songs were rhythmic songs served to synchronize physical movements in groups, coordinating tasks in upland farming and rice paddy with the usage of catchy, repetitive verses easy to pass down. The Wonju Origol Nongyo is a precursor of the work songs which took the farming activities a notch higher to be part of the excitement and festivals. In the context of transmission, a festival serves to demonstrate the value of history and life. The value of the Wonju Eorirang should be appreciated and a concerted effort should be made to find a way to facilitate the transmission of the folk song. A folk-singer is a traditional oral poet and a storyteller of minyo and the forms and species of melody solely depend on the signer. The combination of performance and witticism is shown by the singer freely expressing himself. The Origol Nongyo symbolizes ethnic arts cleverly combining playful effects such as tune, rhythm and old agricultural work of the region. It is to be hoped that much of the efforts is directed to designating such folk songs as the archetype of a cultural heritage. In terms of the foundation on which the folk songs are transmitted, the usage(Performance Content) of a community would be an alternative.