• Journal of Digital Convergence
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• v.13 no.10
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• pp.157-163
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• 2015

This study seeks to investigate the effect of a musical's reputation and online discounts on the consumer's willingness to re-watch a musical in the convergence industry. of service management As a resut, First, this study verified the moderating effect of on-line price discount. Second, on-line price discount was found to have an impact on reputation of a musical and consumer satisfaction. Third, consumer satisfaction was found to have a positive impact on word-of-mouth intention. Accordingly, it would also be imperative to provide information via on-line communities on a consistent basis so that viewers could create viral marketing. Also, those customers having received differentiated benefits would have a higher degree of satisfaction. Eventually, these customers will create positive viral marketing effect.

• Korean Institute of Interior Design Journal
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• v.25 no.5
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• pp.42-54
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• 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 Journal of the Korea Contents Association
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• v.18 no.8
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• pp.638-645
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• 2018

'42nd Broadway' is one of the most authentic, genuine and renowned musical pieces among the numerous musicals. By approaching every element in the Backstage from the perspective of an actor who is apart of the show, not a professional photographer, rather than an the usual objects on the Front Stage which is imprinted in the minds of the ordinary people through the media or the numerous flyers sent from the theaters, intented to describe the life as it is in the Back Stage by examining various elements such as the sets or make-up rooms, rather than the momentary, technically staged imageries. In the industrial aspect as well, the implication of this documentary would be that a more realistic set of photography was provided instead of the existing ones that usually focused on the'staged,' or 'guarded' images of the musical as shown in the promotional materials or the Front Stage still cuts.

• Korean Journal of Cognitive Science
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• v.13 no.1
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• pp.61-71
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• 2002

The musical interval tells how two different pitches are related to each other. In this paper, 2 experiments examined the existence of a culture-specific system in the perception of musical intervals. These experiments evaluated the discrimination performance by the western-music experts and non-experts. The observed results demonstrate a quite different pattern compared to that of the western-culture. In these experiments. the perfect fourth's perceptual stability was clearly shown. This is significant in terms of the musical-processing system that reflects the culture-specific emotion in the domain of music. Even though we are widely exposed by the Western-tonal music. it is assumed that we have a certain type of gravity within our own musical pitch system. It has suggested that, for an advanced research, we need to carry out the tasks, requiring more empirical data independently from that of the western listeners.

• Journal of KIISE:Software and Applications
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• v.35 no.11
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• pp.692-700
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• 2008

In some previous works on musical genre classification, human experts specify segments of a song for extracting musical features. Although this approach might contribute to performance enhancement, it requires manual intervention and thus can not be easily applied to new incoming songs. To extract musical features without the manual intervention, most of recent researches on music genre classification extract features from a pre-determined part of a song (for example, 30 seconds after initial 30 seconds), which may cause loss of accuracy. In this paper, in order to alleviate the accuracy problem, we propose a new method, which extracts features from representative segments (or main theme part) identified by structure analysis of music piece. The proposed method detects segments with repeated melody in a song and selects representative ones among them by considering their positions and energies. Experimental results show that the proposed method significantly improve the accuracy compared to the approach using a pre-determined part.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.405-410
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• 2008

There is always a rhythm in our language and speech. As soon as we speech out, even just simple words and voice we make are edited as various emotions and information. Through this process we succeed or fail in our communication, and it becomes a fun communication or a monotonous delivery. Even with the same music, impression of the play can be different according to each musician' s emotion and their understanding. We 'play' our language in the same way as that. However, I think, people are used to the variety, which is, in fact, the variation of a set format covered with hollow variety. People might have been living loosing or limiting their own creative way to express themselves by that hollow variety. SPACIAL POEM started from this point. This is a new type of 'real-time visual interaction' expressing our own creative narrative as real-time visual by playing a musical instrument which is an emotional human behavior. Producing many kinds of sound by playing musical instruments is the same behavior with which we express our emotions through. There are sensors on each hole on the surface of the musical instrument. When you play it, sensors recognize that you have covered the holes. All sensors are connected to a keyboard, which means your playing behavior becomes a typing action on the keyboard. And I programmed the visual of your words to spread out in a virtual 3D space when you play the musical instrument. The behavior when you blow the instrument, to make sounds, changes into the energy that makes you walk ahead continuously in a virtual space. I used a microphone sensor for this. After all by playing musical instrument, we get back the emotion we forgot so far, and my voice is expressed with my own visual language in virtual space.

• The Journal of the Korea institute of electronic communication sciences
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• v.6 no.1
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• pp.84-89
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• 2011

Musical sheet recognition is an emerging area as the role of computers in music increases. Although there are several well-known programs for composition, they have a limitation in that they cannot edit or play music generated from other programs. In this paper, we propose an algorithm that can read, recognize, and play music using printed sheets. The proposed algorithm first removes lines using horizontal histogram and extracts symbols. The symbols belong to one of the three categories; notes, rests, and other signs. Notes are recognized using the context information and rests and signs are recognized using a fuzzy ART algorithm. The proposed algorithm were applied to 50 pages of musical sheets and the experimental results showed that it is effective in automatic recognition of musical sheets.

• The Research Journal of the Costume Culture
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• v.18 no.6
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• pp.1291-1304
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• 2010

This study examined that the black dress is the one of having aesthetic value as well as symbolism while delivering specific image, from the perspective of color, which is essential element in forming design of the Stage Costume. This study carried out the theoretical research of centering on the literature consideration and the empirical research of centering on a case side by side. It analyzed the works and design based on the clothing, which had been performed in Korea with a revival version of Musical 'Chicago'. Aesthetic characteristics in more than two are being shown in one dress. If so, the following are the results that considered on aesthetics characteristics in black, which were shown in Stage Costume of Musical 'Chicago', which is increasing the theme consciousness through Stage Costume, which is simple and sexy black. First, as emotion of coming to stay in agony and sadness on the basic fact called death, the Stage Costume in black led to being shown sorrow of implying death, fear and murder. Second, the dignity, which corresponds to noble beauty in the aesthetic category, expresses dignity and elegance with flat material in black, and is revealed the aspect of expressing fashion, which emphasized spirit rather than body. Third, as the aesthetic characteristic of causing sexual desire, the sensuality was shown, which has the aspect of being expressed through exposure, concealment and emphasis. Fourth, it was expressed with androgyny, which evokes androgynous image. Fifth, black in Musical 'Chicago' formed the whole mood with a sense of weight by arranging the whole feeling with color in similar tone, thereby having been indicated the harmony of being formed with theme, which is aimed to be indicated in drama.

• Journal of architectural history
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• v.10 no.4 s.28
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• pp.57-75
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• 2001

The music has influenced on the aesthetics, structure and symbol of the architecture from the ancient to the present. and been to be like architecture. It is important part that through the study of musical proportion by number, which is method of architectural and musical composition, resemblance can be found, music is resemble to architecture and this recognition is general as well in renaissance as architect and musician after that time. Therefore, in this background and aesthetics, the purpose of this study is to research purpose and methodology of the proportion of musical consonance and dissonance used in L. B. Alberti's architecture. At first, for the background of aesthetics this study previewed characteristic of aesthetics arranged by subjectivism and objectivism, and this musical proportion which is applicable for Alberti's architecture was defined. secondly, Alberti's architectural aesthetics (concinnitas) of the higher concept was defined by methodology of the lower concept, and this study described the application of dissonance used by the method of canon in music. thirdly, after according to characteristic of aesthetics in chapter three, proportion system was researched by the more objective, applicable unit in renaissance: roman foot and local unit differs meter in the present, Alberti's architectures was researched by the method of cannon in music.

• Journal of Music and Human Behavior
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• v.6 no.2
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• pp.43-70
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• 2009

The purpose of this study was to find out how a vocal improvisation program can improve performance anxiety of students who are majoring in music. Four students participated in the vocal improvisation program for 8 weeks, and Spielberger's State-Trait Anxiety Inventory was administered prior to and after the completion of program. The following are results from this study. First, participants' anxiety score as measured by STAI-S significantly decreased 16.5 (p < .068) average. Second, a decrease in the subjects' practical anxiety level was quantitatively shown following this program the participants' anxiety score decreased on average by 25.5 (p < .068). Third, the subjects reported a positive musical experience as an outcome of this study. The results of the research as described above support priority researches that the music therapy program influences to decrease musical performance anxiety. The vocal improvisation program used in this study proved effective for decreasing general anxiety and releasing musical performance anxiety. This study indicates future uses of music therapy and music psychotherapy for college students who experience musical performance anxiety.