• The Journal of the Korea Contents Association
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• v.20 no.9
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• pp.648-658
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• 2020

In essence, Musical theatre is a multimedia show, so when you listen to musical numbers, you will experience it through multiple senses. Therefore, in order to analyze musical numbers, emphasis should be placed on its interaction with various media such as lyrics, dance, and theatre, which have a direct association with the music. Through the Conceptual Blending Theory, which can comprehensively consider the combination of text and music, the combination of movement and music, and the combination of visual elements and music, this study analyzes the music of Musical . By exploring the result of interaction between lyrics and music, the interaction between choreography and music, and the interaction between stage and music, the artistry and intrinsic value of the work can be proved. In addition, we can discover the process and system of integrated interpretation through music analysis applying Conceptual Blending Theory. Therefore, Conceptual Blending Theory has sufficient utility as a methodology for music analysis of musical theatre.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.75-84
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• 2004

Stage costumes perform not only the instrumental but also the expressive functions. The major goal of this study is to develop the functional and aesthetic costume designs for musical players considering the characteristics of instruments. players’ postures. The scope of this study is restricted to the musical costumes for female adult soloists playing the wind and string instruments. This study is composed of theory research, empiricalresearch and manufacturing a real costume. First, theory research contains theory of musical costumes and that of pure musical areas. Concept, characteristics and wearing effects are analysed in theory of musical costumes. Second, designs of instruments and playing postures are analysed in the theory of pure musical areas. Proper and improper designs are compared based on the survey asking the favorite designs of 56 wind and string players. Third, I manufacture a stage costume for a harpist. The conclusions of this study are as follows. First, wind and string players think the functionality of costumes more importantly than the esthetic sense. And there are differences in design preferences for different playing postures. Second, string Players basically use arms, fingers and the upper body. Wind players use fingers more than string players and do abdominal breathing. Third, string players think the design of arms and sleeves because of frequent usage of bow and prefer the design without sleeves. On the contrary, wind players think the silhouette importantly because of standing playing posture. Fourth, players don't think that the accessory is not important and want it so long as it doesn't hinder playing. Fifth, shoes plays more important role than costume in case of playing posture with using pedals and moving legs frequently. Lastly, both wind and string players prefer the design with simplicity and comfort most.

• Speech Sciences
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• v.8 no.2
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• pp.49-59
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• 2001

The phoneme segmentation is a very difficult problem in speech sound processing because it has found out segmental algorithm in many kinds of allophone and coarticulation's trees. Thus system configuration for the speech recognition and voice retrieval processing has a complex system structure. To solve it, we discuss a possibility of new segmental algorithm, which is called the minus a thirds one or plus in tripartitioning(삼분손익) of twelve temporament(12 율려), first proposed by Prof. T. S. Han. It is close to oriental and western musical theory. He also has suggested a 3 consonant and 3 vowel phonemes in Hunminjungum(훈민정음) invented by the King Sejong in the 15th century. In this paper, we suggest to newly name it as ortho-phonic phoneme(OPP/정음소), which carries the meaning of 'the absoluteness and independency'. OPP also is acceptable to any other languages, for example IPA. Lastly we know that this algorithm is constantly applicable to the global language and is very useful to construct a voice recognition and retrieval structuring engineering.

• International Journal of Computer Science & Network Security
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• v.21 no.7
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• pp.169-172
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• 2021

Based on the scientific and pedagogical analysis of the theory and experience of teaching computer science disciplines, the didactic mechanism for ensuring the continuity of the average (full) general and higher professional education of economists for practical implementation innovative technology of personal experience foundation. The pedagogical conditions for the formation of information competence, including laboratory, design, research work, the use of active teaching methods for acquiring management skills in production and activities of the enterprise. An indispensable requirement for the conditions for the implementation of basic of educational programs is the assessment of competencies. With this the goal was to develop criteria and levels of formation information competence of future economists and carried out complex diagnostics.

• Journal of Digital Contents Society
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• v.5 no.3
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• pp.213-218
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• 2004

The objective of this paper is to verify the usefulness and validity of ICT-based elementary education for musical composition using multimedia technology. Cearing with the characteristic of musical education, multimedia technology, which has made dazzling progress thanks to the rapid development of computer for the last several year, is expected to be a new alternative to overcome various problems of musical education and enhance students` musical function and knowledge. In particular, if ICT-based musical education is introduced in teaching musical composition, in which many elementary school techers feel difficulties, significant education effects will be produced. ICT-based musical education method in the paper identified imitation and problems in traditional theory-based learning and musical composition class using musical instruments and, as a part of resolving the limitations and problems, instructed elementary students in how to use a computer program and applied the program to musical composition class. As a result, the method maximized learning effect and improved stusents` ability to create melodies in a short term compared to traditional teaching methods.

• Cross-Cultural Studies
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• v.36
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• pp.123-147
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• 2014

The purpose of this essay is three-fold: to trace the genealogy of the Korean musical, which ever since its inception in the 1960s has been seeking to modernize Korean theater with Broadway as a constant role model; to investigate how the national and the global conflict and are conflated in the form of the Korean musical in the process of its (dis)identification with Broadway; and to examine how its intercultural translations reveal and reflect the dilemma and ambivalence posed by globalization in our era. Drawing on Richard Dyer's signature article Entertainment and Utopia, I analyze how the Korean musical manifests and conduits competing utopian impulses of Korean/Global audiences. I also attempt to problematize the formulaic notion of Broadway musicalsthe Superior Other!which implies a global hegemony that does not, in fact, exist because the boundary between the global and the local as well as the power dynamics of global culture are not fixed but constantly moving and changing. Today's musical scene in Korea shows interesting reversals from the 1990s, when Korean producers were eager to debut on Broadway and impress American audiences. Korean producers no longer look up to Broadway as a final destination; instead they want to make Seoul a new Broadway. They import Broadway musicals and turn them into Korean shows. The glamor of Broadway is no longer the main attraction of musicals in Korea. What young audiences look for most is the glamor of K-pop idols and utopian feelings of abundance, energy, intensity, transparency and community, which they can experience live in the musical with their favorite stars right in front of their eyes. In conclusion, I delve into the complex dynamics of recent Korean musicals with Thomas Friedman's theory of Globalization 3.0 as reference. The binary formula of Global/America versus Local/Korea cannot be applied to the dynamic and intercultural musical scene of today. Globalization is not a uniform phenomenon but rather a twofold (multifold) process of global domination and dissemination, in which the global and the local conflict and are conflated constantly. As this study tries to illuminate, the Korean musical has evolved in a huge net of interdependences between the global and the local with a range of sources, powers and influences.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.100-108
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• 2020

20th century music has been recognized as disconnected. Some criticized that it is not music. This controversy has been continued over decades in music history. This study applied Darwin's evolutionary theory to John Cage's 4'33", the most popular music in 20th century and tried to prove musical continuity embedded in it. 4'33" has always been a subject of controversy because it has no sound. However, the study found out that 4'33" has the common musical factor, the rest. 4'33" can be interpreted as the variation of the rest in evolutionary view. The rest has undergone a variety of variations in form and meaning since the beginning of the musical notation and was suitable for a new musical environment changed in 20th century. In the evolutionary view, 4'33" is evolved music, not disconnected.

• Journal of Music and Human Behavior
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• v.5 no.2
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• pp.93-102
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• 2008

In Jungian theory the developmental stages of human life are symbolized as a circle that represents the wholeness, and the open ended process towards the wholeness is called Individuation. In the belief that every human being has his or her own "Music Child" that represents one of the creative, genuine, healthy cores of the self, we are all musical beings, and each individual has his or her own relationship to music. Musical individuation therefore refers an open-ended process towards the wholeness in music. Being a Nordoff-Robbins Music Therapist, who values the therapeutic essence of innate creativity and uses improvisational music to maximize it, helped me realize that not only the client but also the therapist has to reach his or her own musical self, Music Child, in order to facilitate any change or growth through music. This realization led me to start a journey towards my own musical individuation. Hence, this essay is a very personal document illustrating my ongoing journey towards musical individuation that will allow me to become more whole and genuine in music.

• MALSORI
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• no.39
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• pp.25-42
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• 2000

In this paper, I have shown how to associate a musical beat with a note within the framework of Optimality Theory. And the following hierarchy of constraints is suggested to associate a sub-beat with a note. Alternation Sub-beat CCC Head $\gg$ Beat-to-Note $\gg$ Note-to-Beat EQ-Beats Smaller Note Furthermore, I have tried to explain Sprung Rhythm with a musical beat system. I have suggested the following hierarchy for Sprung Rhythm. Head $\gg$ SCSR Using a sub-beat on the basis of Head $\gg$ SCSR shows the abrupt change of Sprung Rhythm well.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.42-42
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• 2003

Stage costumes perform not only the instrumental but also the expressive functions. The major goal of this study is to develop the functional and aesthetic costume designs for musical players considering the characteristics of instruments, players' postures. This study will increase the related market size and the players' choices and move aurally and visually more. The scope of this study is restricted to the musical costumes for female adult soloists playing the wind and string instruments. This study is composed of theory research, empirical research and manufacturing a real costume.