• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2006.05a
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• pp.726-729
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• 2006

As a active soundscape facility, P.A. system is a useful instrument to give place identity and vitality by letting out music, environmental music, bird singing sound etc. In this study, to know the optimistic distance and sound level range of introducing sound, sound levels due to distance were measured and subject responses were checked by questionnaire. Levels from 64dB to 71dB are recommended by subjects. And the optimistic level of introducing level is related with level variance of sound source. The results of this study could used for street furniture location design and P.A. system output level.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.418-423
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• 2007

향수나 음악과 같은 감성적 매체는 자신의 개성을 드러내는 좋은 수단이 된다. 그러나 이들은 그것을 사용하는 사용자와 1:1로 대응하지는 못한다. 예를 들어 내가 사용하는 휴대폰 컬러링은 다른 사람도 사용할 수 있다. 그러나 '이름'이나 '생일'과 같은 개인 정보를 이용하여 음악을 만든다면 그것은 자신만의 음악이 되고, 한 개인을 표현할 수 있는 수단이 된다. 이 논문은 '이름'과 같은 개인 정보를 음악으로 만드는 방법에 대한 연구이다. 정보를 음악으로 바꾸는 매개체로는 '한글'의 문자 체계를 이용하였다. 한글은 초성, 중성, 종성의 구분이 명확하고, '천,지,인(天,地,人)'을 바탕으로 만든 모음만으로도 3가지 적용방법을 이끌어 낼 수 있기 때문에, 자모의 구분 정도만 있는 다른 문자에 비해 정보 표현력 면에서 우월하다고 볼 수 있다. 정보에서 음악으로 단순히 '변환'하기 위해서는, 한글이 갖고 있는 여러 특징을 음악에 필요한 요소로 대치시켰고, 이를 음악적으로 완성도 있게 만들기 위해서는, 변환하는 규칙을 '화성법'에 근거하여 적용하였다. 이 방법으로 사용자가 '원하는 음악'을 만들지는 못하겠지만, identity를 표현하는 수단으로는 충분한 역할을 할 수 있을 것이다.

• Journal of Digital Convergence
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• v.13 no.11
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• pp.409-415
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• 2015

Summary. With the advent of the internet and the concept of social network service, people of present days are flooded daily with new varieties of the communication channel. One of the most affected group of people may be singing artists. This over-growing number of communication channels pushes singers to put just as many efforts to establish and groom his or her unique identity as an artist. In old 'pre-internet' days, any singing artist's superficial features, like the tone of voice or stage presentation, were the only transcriptive criteria upon which the artist was adjudicated. New developments in technology, however, have set a new paradigm for singing artists of the present day. Respective criteria of today extend beyond the realm of music and comprise musicianship, requiring much scrupulous attention on the various area to propagate and protect one's unique identity as an artist. In light of this phenomenon, this study looks into Mr. Lee, Seung Hwan whom may undoubtedly be one of the most representative ballad singers of 90's. We can probably see his music in 5 features such as Rock Sound based on using various instruments, World Music Sound, Massive Choir, Challenge for the New Style, Lyrics of Life. As a singer-songwriter, he colored numerous albums and influenced the era, unlike many others. He still works vigorously, worthy of his epithet, a 'present-progressive' artist. The object of this study is how Mr. Lee has been proactively dealing with the phenomenon above.

• Archives of design research
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• v.18 no.1 s.59
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• pp.233-244
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• 2005

Fashion is one of the characteristics which represents the comtemporary sociocultural signifiant. A style that a certain stream of fashion brings is not just limited in fragmentary tendencies and fads. That can be a code to communicate and function as a medium in itself. Music has been displaying it's power to fashion while fashion has been exercising it's influence over the music. There is an inseparable relationship between music and fashion in terms of expressing our images of the world: fashion delivers them through visuality and music does it by sound. Both fashion and music are reflecting our society as well as they are influencing on sociocultural aspects generally. Whenever music has been changed new youth culture has been made and this culture has been expanded with forming some distinct fashion trends. The study focuses on identifying the relations between pop music and fashion styles which are occupying positions firmly on the bases of youth culture through analysing the relations between the fashion styles and music genres which are used in sub-culture groups to express their own identities and consciousness from a point of semiotics. In conclusion, subculture is the exit of their escaping from the compelling inconsistency cause by the condition of people's life and the way for them to solve through cultural sublimating for themselves. People come up with distinctive style of music and fashion to express their resistant signifie in their symbolic way. In addition, a particular music trend has much to do with a contemporary fashion style. In the relationship between music and fashion, there have been the subtle mechanism to boost and influence and some crucial similarity each other to signify inner values of the times. This study lets us realize that fashion is not only a popular style of clothes, hair, etc. at a particular time or place but also a medium to communicate and to guarantee polysemous identity by functioning as a flexible tool to exchange contemporary sociocultural meanings.

• Trans-
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• v.8
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• pp.1-28
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• 2020

This study examines musical characteristics of so-called 'Hongdae Sound' as a historic musical trend by comparing with 'US 8^th Army Sound' and British 'London Punk'. Hongdae Sound refers to the musical trend that was formed with independent bands and musicians who mostly performed live in the club called 'Drug' in Hongdae area, and voluntarily adopted minor musical sensitivity and indie spirit of 'post-punk rock' genre. But as an industrial standpoint the superficial identity of 'indie' interferes with academic approach when analysing musical aspects of Hongdae Sound. Therefore it is necessary to rearrange its characteristics as the musical trend based on regional classification in order to fully appreciate its status in history of Korean popular music. US 8^th Army Sound refers to the musical trend that was played within the live stages in US military bases in Korea. Many hired Korean musicians for those shows were able to learn the current popular musical trend in the States, and to spread those to the general public outside the bases. The industrial system of the Army Sound was very similar to that of K-Pop, but when it comes to leading the newest musical trend of 'rock-n-roll', it had more resemblance to that of Hongdae Sound. London punk was the back-to-basic form of pure rock that was armed with social angst and rebel, indie spirit. Its primal motto was 'do-it-yourself', and Hongdae Sound mostly followed its industrial, musical and spiritual paths. London punk was short-lived because it abandoned its indie spirits and became absorbed to the mainstream. But Hongdae sound maintain its longevity by maintaining the spirit and truthfulness of indie, while endlessly experimenting with new trends.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.1
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• pp.57-75
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• 2019

Soundscapes have the potential to help people experience the historical background and cultural traditions by the scenery of a local area and to be used as a cultural and tourism resource. This concept was first explained in detail by M. Schafer and has been developed as a new way of experiencing landscapes using various senses. This research studied the soundscape of Kyodong Island, the so-called "Island of Peace" and designed new cultural acoustic content for education and tourism. Kyodong Island is located right below the Northern Limit Line and the whole island is in the Civilian Controlled Area. The political and economic status of the island has been changed dynamically by the Korean War and the division of the country. These days, the island needs to realize the vision of the "Island of Peace" in a more creative way using local resources, including its "cold war landscape" and the natural scenery of the region. This research applied the concept of a soundscape to document the island, and to reproduce it in an artistic way. A workshop was conducted to learn concepts and techniques of soundscapes with a sound artist. Listening, recording, conducting interviews, and literature research was used to study the soundscape of the island. After that, this research reconstructed the soundscape of the island through a soundscape composition. The main theme of the composition story was the "Hope and Wish for the Harmony and Peace" to show the vision of the "Island of Peace". The initial sub-theme for the introduction part was "First Encounter with Kyodong Island" arranging the representative soundscape, which could be the first impression of the region. The second sub-theme was "War and Tension" using several soundscapes as a metaphor for the tragedy of the Korean War. The third sub-theme was "Everyday Life of Kyodong Island" which described the energy of the present day, after the wounds of the war have healed. The final sub-theme was "Harmony and Peace" using traditional music and keynote sounds of the region as a reminder of the peaceful past, before the war. The recording files were documented as two types of sound maps. One was a two-dimensional map to show the soundscapes from one point of view, and the other used the online application called "Sound Around You". The final artwork was displayed at an exhibition and uploaded on YouTube to be shared publicly. Through this project, we discovered the potential of soundscapes as a medium to preserve the history and local identity, as well as presenting a new vision. The artwork will be exhibited at historically and culturally meaningful places on the Island to utilize the underused places as local tourist attractions and educational resources.

• (The) Research of the performance art and culture
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• no.20
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• pp.5-30
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• 2010

It has been diversified and serious attempt to establish the identity of Changgeuk, but it is still independent dramaturgy or the current unformed progressive art. In this situation, exploring works of the identity of changgeuk that is base on the performed individual and specific works in the title of Changgeuk is needed. The 80s and 90s Heo, Gyu was leading an active life as a director who was responsible for directing of Changgeuk. He dramatized Siljeon Pansori -which is a group of Pansori missing text- as well as 5-remained Songs in Pansori and he presented a number of creative Changgeuk works on stage. Especially, the completion of dramatizing 5-remained Songs in Pansori under the name of 'Wanpan Changgeuk -which means full version performance without omit-' is the one of his big achievement by performing "Heungbojeon" on the stage 1982 and "Jeokbyeokga" 1985. The purposes of this research are confirmation of Heo's direction of the formulation and considering its characteristics & significance through 'Wanpan Changgeuk' which written by Heo. Heo was a practical play who was interested in the subjective formulation of national culture and creative transmission for Korean traditional performance. He tried to formulate Changgeuk to a representative performance of Korea. In the process he pointed out those problems, (1) interpretation of a work problem, (2) actor's creative problems, (3) structure problem of theater for Changgeuk. He indicated that the other challenges are to use of the stage & device, to overcome sentimentalism, to stylize acting, to improve own quality, to control the speed and length of the song, to choose the suitable musical accompaniment, to create new repertories problems, and etc. Changgeuk is classified in 3 group by origin, (1)dramatizing of 5-remained Songs, (2)dramatizing of 7-missing Songs, (3)creative dramatizing. It contains all of 3 types that Heo's work. The dramatizing of remained 5 Songs are the great importance among those works. Heo hoped that Chaggeuk has become the most representative art work of Korea by performing 'Wanpan Changgeuk' compiled heritage of Korea's outstanding artistic achievement. The characteristics of 'Wanpan Changgeuk' can be summarized following four. (1) Directing attitudes that emphasizes tradition, (2) Accepting the elements of traditional performance actively, (3) Valuing the classy and ethic, (4) Emphasizing humor and active utilizing of the secondary characters. Heo's 'Wanpan Changgeuk' shows a peak of the artistic level which Changgeuk can be reached. He want to make Changgeuk a Korean representative artistic performance by compiling Pansori heritage and accommodating Korean traditional performance. Heo continued his effort to present Pansori's authenticity and to dramatize from beginning to end without missing. It shows very well that 'Wanpan Changgeuk' takes 4~5 hours for playing. It looks Heo's achievement in the 'Wanpan Changgeuk' influenced Changgeuk significantly since then. Heo's 'Wanpan Changgeuk' is matrix of 'Wanpan JangMak Changgeuk' attempted in the 1990s. Especially, their intent is consistent to synthesize texts and to show all the virtue of Pansori. But 90's 'Wanpan JangMak Changgeuk' aim for large stage, fancy device & costume and variety contents compared with 'Wanpan Changgeuk'. Recently, producers have tried not to make a impressive Changgeuk but to make a interesting one. They usually organize performance within 2 hours and prefer orchestral music to its unique sound. In those point of view, it seems that Heo's idle in 'Wanpan Changgeuk' has become one of target to conquer in these days.