• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.15-23
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• 2019

This paper aims to identify the characteristics implied in the process of change of Stephen Sondheim's musical style and to derive the structural communication tools that connect the creator and audience and the implications. The strategies that appear in Sondheim's musical works are the following. First, Sondheim's early musical works follow the principles of book musical and emphasize the integration faithful to the basic elements such as the rhythm and meaning of the lyrics. Second, in the era of early postmodernism, Sondheim attempts the principle of extreme deconstruction through the concept musical Company and pursues rational thought through fragmented dramatic flow. Third, while maintaining dramatic linearity to overcome the lack of immersion caused by extreme deconstruction, Sondheim realizes a more elaborate and formalized fusion style of the principles of integration and deconstruction through the choruses and the songs of the characters in Little Night Music and Sweeney Todd. Finally, Sondheim attempts multiple experiments to break down the boundaries of act and scene and to express new subject matters through his works such as Sunday Park with George and Into the Woods. In conclusion, Sondheim's fusion experiments and strategies are the process of finding a framework and a medium of communication to induce dramatic immersion of audience and at the same time create rational thinking about social problems to deliver the message of the creative work with the leading aesthetics of the modern musical's box-office success.

• Cross-Cultural Studies
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• v.44
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• pp.315-342
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• 2016

There exists a general misunderstanding of the Musical as being both a dramatic genre and a musical genre. This misunderstanding lies in the fact that music fills the role of the drama. In other words, there exist a series of narrative episodes that help the development of the drama and music generates the ambience that corresponds to each episode. In this case, music is subordinated to the drama and thus becomes secondary. However, this paper seeks to show that in the Musical, musical composition is so strongly linked to the development of the drama that it is through the musical development that the drama unfolds. This paper seeks to explore this view through one of the most successful musicals of our time, Les $Mis{\acute{e}}rables$. A musical adapted from a novel is not the retrenchment of a series of episodes from the original novel. The process of dramatizing the novel compels the musical creators to observe what to draw out as a dramatic action. The interesting points of a musical consist of how the musical creator has reflected his understanding of the fiction through the composition of the music. This is why this paper has created a table analyzing the forty musical compositions in Les $Mis{\acute{e}}rables$. This table is meant to visualize the musical motifs employed in this play in order to explain the relationship between the musical composition and the development of the drama. The theme of Les $Mis{\acute{e}}rables$ lies in the transformation of Jean Valjean. His change includes the process of transformation from a thief to finding Jesus and his denial of being a sinner to his confessions of sinning. This paper explores the transformation of the dramatic action of Jean Valjean, which is symbolized by such themes as Misery, Love and Name established in musical form. The dramatic conflict between Jean Valjean and Javert as well as between Jean Valjean and $Th{\acute{e}}nardier$ is also explored through the composition of music. The success of Les $Mis{\acute{e}}rables$ lies in its successful constitution of music that embodies the in depth interpretation of the original play.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.7
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• pp.4441-4449
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• 2015

The purpose of this study is to find out how children's musical is done in the early childhood education field. To find out the realities of children's musical watching, seek problems and way to improve, educationally new alternative, we selected subjects of study as follows. First, how children's musical of the early childhood education center is done? Second, how the education related children's musical of the early childhood education center is done? Third, what is the problem and way to improve of watching children's musical? To find out these, the result of the teachers(159 people) who are working the kidergarten and the early childhood education center is as follows. First, Children were very interested in watching musical and could get new, various experience and culture. Second, when watching musical, kindergarten and the early education center did pre-exploration everytime except same place. second, Of post-education activity, drawing activity related with musical content, story-making activity, developing to child's act are educationally effective. Third, whey watching musical, there is much pressure about danger and safety. So it is hard to control when children is moving. This significant result shows the importance of educational effects of the musical watching and the proposed expansion of the opportunity to experience a musical watching of the various educational approaches.

• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.642-650
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• 2018

Musical is produced by multiple specialists including director, writer, composer, lyricist, choreographer, music director, actors/actresses and so on. For the success of one musical, all the people with different background should demonstrate their creativities. The basic frame of a work is made by writer, composer and lyricist first unless it is a licensed musical. They are called as Creative Team, and also director, choreographer, actors/actresses and staff are called as Production Team. Both teams are collectively called as Creative Staff. Then, the secondary creative staff members may participate in the work depending on the production size, and each team can consist of the members such as music director, stage designer, sound designer and so on. The staff related to music in Creative Team of the musical is developed with the initiation from the music supervisor who decides the musical color and genre of the work, the fragmentation and the specialization. However, composer or music director takes these roles in charge in Korea. This study aims to establish the roles and concept of vocal coach according to the fragmentation of working process and to investigate their roles and needs in the domestic musical industry upon case analysis of musical production processes in overseas. The common things and differences in the roles and the functions between ordinary voice teachers and musical vocal coaches were analyzed and the cases of vocal coach in the Korean musicals were reviewed by the interviews. In addition, creative team system was reviewed in the Korean musicals.

• 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 Korea Entertainment Industry Association
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• v.14 no.7
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• pp.251-262
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• 2020

The purpose of this study is to analyze musical styles emerging in modern musical history from the perspective of integration and deconstruction, and to academically investigate the characteristics contained in each style. The style of musicals can be divided into periods of non-integrity, integration, deconstruction, and convergence. The rise of musical styles and the associated meanings can be studied from the perspective of modernism and postmodernism. In modernism, the energies of 'integration' and 'concentration' form the major trend while in early postmodernism, the powers of 'deconstruction' and 'dispersion' play the main role. Late postmodernism is a dialectic result of both trends in which the philosophy of 'convergence' and 'harmony' operates as the main theme. The principle of integration and deconstruction, which forms the base of musical creation, emerged after the development of the unstable style of non-integrity in the early days of musical. Later, with the advent of Rogers and Hammerstein II, the principle of integration was established for book musicals, emphasizing the linearity of drama, and the principle of deconstruction was born for concept musicals to contain new contents. The 'convergence' found in later musical works turn the theme from non-integrity to integration, and from deconstruction to integration again, which indicates that integration is embracing the concept of deconstruction again in a more advanced sense. Such convergent compromise that constantly influences each other and develops in a better direction can contribute to the development of musical styles.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.680-684
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• 2007

In Korea the musical was granted very close an art however recently it is rapidly take the position a new trend of the mass culture industry with some of promoted lifestyle due to increased income and with spreading consumer culture of well-being. This study is to consider the musical as a way of OMSU to observe how to produce the musical the with the original one that recorded as the best animation program with highly broadcasting rate as it is broadcasted on TV. It is belongs to a category of musical or a performance, has a good feature of children's program with arranging the broadcasting. Through this study, developing performance art to OSMU, it wishes to utilize people that produce the performance applying the contents of animations and cartoons, to make value added This study is for presenting an effective way of OSMU, with studying and researching the production process of the musical . The original source the cartoon and animation is transferred to a musical with a technical feature of digital audio-visual, with characterizing to an attractive musical characters from the original characters, and with humorize twisted story structure based on the basic storyline.

• The Journal of the Korea Contents Association
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• v.14 no.10
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• pp.51-63
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• 2014

This paper deals with how Korean television musical variety show rose and declined focusing the 'Show Show Show'. 'Show Show Show' was a Korean television musical variety show that ran on TBC-TV every Saturday night at 8pm. until TBC-TV was absorbed into KBS-TV in 1980. Its musical acts, of various kinds, were interspersed with comic turns and special items including dancing, mime, magic, and acrobat. Korean television musical variety show worked on what audiences had in common across generational divides till the late 1970s. 'Show Show Show's catchall format didn't cross the demographic lines like it used to. But the young generation demanded music program that spoke to their own condition in the early 1980s. 'Show Show Show' ended on KBS-TV in July 1983 through the influence of the absorption of TBC-TV into KBS-TV and the changes of cultural circumstances. The decline of the television musical variety show was attributable to the fragmentation of musical taste and the change of viewing behaviors.

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.1-14
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• 2012

Ever since the year 2000, Korea's musical markets has invited famous overseas license performances and have therefore cooperated with staffs working overseas in regards to stage costumes. This study aims to suggest the methodology of the stage costume making process according to the present advanced production system of Korea's musical market. The researcher participated in the stage costume making work of 'Chicago' as a costume supervisor. It took place at the Opera House of Seongnam Art Center from January 10, 2010 to February 28, 2010. Furthermore, there was significance in reinforcing academic values and implementing practical making process of stage-costumes based on the actual field work. The method of this research was carried out through a theoretical research and a case study that focused on empirical research. As for the research scope, it was limited to the actual stage-costumes that the researcher fully engaged with as a costume supervisor of the musical 'Chicago.' The results of this study were as follows. The stage costume making process of the musical 'Chicago' was categorized according to the classification of production system in the performance. For pre-production, it was divided according to the information of the actor and the analysis of the bible. Rehearsal period was divided according to the product clothes and fitting. Production week & preview were divided according to the changeover of clothes and the arrangement of dressers. The Run was divided according to the inspection of the situation concerning clothes in general during the performance. Post-Production Period was divided according to the collection of clothes and the implemented database. This study eventually suggested appropriate stage-costume making processes for the costumes making environment according to the expansion of overseas license musical market. However, it has a limitation of the research scope to the musical 'Chicago.' The creative performances of the domestic version are planned in diverse forms and come to abroad animate by the Korean Wave. Therefore, the field of stage-costume is necessary for the establishment of practical schemes of the system and copyright in accordance with the environment.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.608-616
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• 2013

Debate on the introduction of musical 'stage quota' has been triggered to protect domestic original musical market. In the in-depth interviews with experts, most of the interviewees were in favor of the introduction of this system, ensuring mainly cultural diversity. The proposed model by proponents is that large-scaled national and public theaters(1,000 seats or more) must perform original musicals at least from 20% to 30% of total musical performance days per year set by law until its competitiveness should be ensured. Opponents proposed that government should design musical promotion and funding policy. The study implies that stage quota should carried out since the system is essential, and should be institutionalized through legislation. It is also suggested that government should consider and consult the stakeholders to draft this system reflecting answerers' limitations such as target, quota rate, period to minimize side effects like shrinkage of musical industry.