• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.45-54
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• 2021

Jeong Sun-Ah built up her performance career for twenty years with bold and energetic acting and solidified her status as a leading actress of Korean musical since her debut. To benefit from the value of her experience this study performed an in-depth interview with her, applying the Theory of "Projection" and "Back-projection", which are the psychological principles of acting, and derived "acting(entering the roles)" and "de-acting(leaving the roles)" techniques. As result, Her acting mechanism involved emptying her ego, embodying a persona by projecting the role created by intensive exploration of materials like previous performance, film of the same title, original novel, and script, and then getting the ego back by back-projecting through dynamic activities such as overseas travel and dance. She pre-studied the roles by physically visiting sites that are important to the characters. She was unique in that she pursued a difference by changing vocal trainers for each musical production and undertook more intense physical training than vocal practice to achieve powerful singing performance. In most of her works (75%), she suffered from aftereffects such as depression, narcissism, hysteria, and insomnia due to disorder caused by breaking away from the roles. However, she relied on self-help and alternatives are needed in the future such as reinforcement of expert counselling. Jeong Sun-Ah appeared on an average of 1.6 productions per year, practiced for an average of 1.7 months, and performed for an average of 3.9 months with an average of 100 days of break between productions. Her performance record from this research demonstrates her constant preparation and passion, as well as the know-how of reserving and distributing energy. So, it has a valuable implications for acting education and self-management of actors and actress.

• Proceedings of the KOR-BRONCHOESO Conference
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• 1982.05a
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• pp.12-12
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• 1982

We have recently experienced a case of decannulation difficulty resulted from head and thoracic injury. The patient was 21-year-old male who undergone craniectomy and tracheotomy at other hospital about 7 months ago prior to admission On admission, there was swelling in glottic and subglottic region in indirect laryngoscopy and bronchoscopy with fixation of vocal cords in paramedian position. We tried to reestablish an adequate air way with bougination using Jackson esophageal bougie but there was no effect with it. So we performed vertical incision through cricoid cartilage and tracheal rings and insertion of Teflon tube in stenotic lesion for 9 months and removed it. At present time, the patient has been satisfactory corking training course.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.15 no.1
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• pp.37-42
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• 2004

Electrolarynx(EL), battery operated vibrators which are held against the neck by on-off button, has been widely used as a verbal communication method among post-laryngectomized patients. EL speech can produce easily without need of any additional surgery or special training and be used with any other methods. This institute developed a neck-typed EL named "Blueton" in commperation with EL Company Linkus, which consists of 3 parts : Vibrator part, Control part, Battery part. In this study we evaluated the acoustic characteristics of the produced voices by Blueton compared with Servox-inton using MDVP. Three EL users (2 full time users, 1 part time user) were participated. The results revelaed that NHR higher in Servox than Blueton and intensity is higher in Blueton than Servox. The spectra for vowels produced by EL speakers are mixed signals combined with talkers' vocal output and electrolarynx noise. The spectra pattern is similar with two ELs. High, SPI index and vowel spectra from MDVP demonstrated characteristics of both electrolarynxes related to noise signal. This finding suggests that Blueton helps to provide one of useful rehabilitation options in the post laryngectomy patients.

• Journal of the Speleological Society of Korea
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• no.95
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• pp.35-49
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• 2009

Ever since the beginning of time, caves not only have offered a place to live for humans but they have also been used as cultural spaces. That is, in the event of making some sounds in a location within the cave, the sound that is created is greatly magnified and sounds out as if it is being amplified from a giant megaphone. This, as we well know it, is known as the resonance effect. Here, the cave itself appears to function as a massive wind instrument. Especially in cases like the Altamira Cave (Spain) where cave paintings were found, the point where the cave drawings were found has commonalities in that it is a wide space and that it is usually discovered together with flutes and drums that are made with mammoth bones. We need to focus on this point. We can infer from these facts that the prehistoric people have carried out cultural activities along with their incantation rituals within those caves. In the meantime, amongst the Korean traditional arts, in the case of pansori which is a representative vocal genre, there have been examples where caves were used as practicing locations for those people who are training to perfect their singing. This is known as toguldoggong(土窟獨功) which literally means 'obtaining one's own art by oneself in the earth cave by practicing incessantly'. This process along with pokpodoggong (瀑布獨功) (same as above except that the location is by the waterfall) is the final training stage in order to become a recognized virtuoso on the part of the apprentice. This could be compared to the final annealing and finishing process of producing a metalwork. This has been a long tradition followed by most Korean traditional artists in order to perfect their sound which is harmonious with nature within natural surroundings. By honing in on this point, I have come to think about this matter repeatedly while coaching the university students in vocal singing. In short, I came to the conclusion that "the making of natural sounds will be obtained naturally within natural surroundings like caves!" Consequently, The Society for Studying Cave Sounds was inaugurated on January 1992 along with some of my students. We made use of times like vacations to go around exploring caves all over Jeju and carried out investigations of sounds along with cave exploration on an experimental basis. After 5 years, in September of 1997, we were able to host the first ever cave concert domestically at the Whale Nostril Cave(東岸鯨窟) on Wu-do. After that, we have been hosting the cave concert once every year. We have achieved a record of a total of 14 cave concerts until 2009 of this year. Out of these, 2 were held in Seokhwaeam Cave in Kangwon Province, another two were held in Manjang Cave which is a lava cave, and the remaining 10 were held in the Whale Nostril Cave of Wu-do. Along with that, I have carried out a special recording for the production of a cave music CD in May of 1999. This paper was written and organized by using the main materials that were derived from the experiences of using caves as concert halls in the past. It is hoped that this cave concert will offer a very unique experience to tourists who come to Jeju every year and give them the best possible superior natural sound effect that only Jeju caves can offer.

• Journal of Chest Surgery
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• v.32 no.6
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• pp.561-566
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• 1999

Background: It is not easy to surgically correct caustic pharyngeal strictures and a lot of effort is required to restore normal swallowing after the surgery. The authors reviewed the course in patients who underwent pharyngocolostomy. Material and Method: From August 1995 to March 1998, 6 patients with caustic stricture underwent esophageal reconstruction surgery. The time of injury to the replacement of the esophagus was from 3 months to 2 years and 4 months. The left colon was used in all patients. The surgical route was used under the sternum in 5 patients and through the esophageal hiatus in 1 patient. In the cervical anastomoses, the cervical pharyngocolic anastomosis was performed on the left pyriform sinus after a partial resection of the thyroid cartilage in 3 patients and on the posterolateral aspect of the inferior pharyngeal constrictor in 3 patients. Result: Postoperative complications consisted of a dysphagia in 3 patients and left vocal cord palsy in 1 patient. There was no cervical anastomotic stricture. Revisional procedures consisted of an esophageal dilation and free jejunal graft in 1 patient, supraglottic scar band resection in 1 patient, and colonic mucosal resection in 1 patient. Swallowing training was required in the 3 patients with dysphagia. Restoration of normal swallowing was obtained in all patients between the 9th and the 303rd day. Conclusion: Pharyngocolostomy is a satisfactory method of treatment for patients with intractable caustic stricture. Pharyngocolojejunostomy is an effective alternative for esophagocologastrostomy in cases where gastric outlets are involved.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.20 no.1
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• pp.57-62
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• 2009

Background and Objectives : There are few studies reported that specifically examine the laryngeal function in patients with profound hearing loss or deafness, This study was designed to examine videostroboscopic findings and phonetic characteristics in adult patients with prelingually deaf. Materials and Method: Sixteen patients (seven males, nine females) diagnosed as prelingually deaf aged from 19 to 54 years, and were compared with a 20 normal control group with no laryngeal pathology and normal hearing group, Videostroboscopic evaluations were rated by experienced judges on various parameters describing the structure and function of the laryngeal mechanism during comfortable pitch and loudness phonations. Acoustic analysis test were done, and a nasalance test performed to measure rabbit, baby, and mother passage. CSL were measured to determine the first and two formant frequencies of vowels /a/, /i/, /u/, Statistical analysis was done using Mann-Whitney U or Wilcoxon signed ranks test. Results: Videostroboscopic findings showed phase symmetry but significantly more occurrences decrement in the amplitude of vibration, mucosal wave, irregularity of the vibration and increased glottal gap size during the closed phase of phonation, In addition, group of prelingually deaf patients were observed to have significantly more occurrences of abnormal supraglottic activities during phonation. The percentage of shimmer in the group of prelingually deaf patients were higher than in the control group. Characteristics of vowels were lower of the second formant of the vowel /i/. Nasalance in prelingually deaf patients showed normal nasality for all passages, Conclusion: Prelingually deaf patients show stroboscopic abnormal findings without any mucosal lesion, suggesting that they have considerable functional voice disorder. We suggest that prelingually deaf adults should perform vocal training for normalized laryngeal function after cochlear implantation.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.123-132
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• 2019

This paper analyzes the performances of actor Song Kang-Ho in the background of interdisciplinary and integrated film acting, using performance rather than acting as a general term. If the act is a concept limited to acting training or acting skills, performance is a broad concept that includes expressions, movements, and emotions. The performance on the screen can be explained in the context of film and can be extended to the social attitude of acting. In addition, I used the term screen in terms of representation rather than film referring to medium. Song Kang-Ho expressed the performances of various characters in more than 30 films. Although his facial expressions, gestures, and voices suitable for individual characters in various genres are represented in various ways, personality inherent in the actor Song Kang-Ho integrates persona with character. What drives it is the social attitude of screen performance. As a sign, acting is an ideological construct and foregrounds a character who describes a certain social and historical moment. Song Gang-Ho as actor, persona and character, who asserts the popularity, speaks to society and makes discourse. His comic performance is always confronting the tragedy of life, his face is the spirit of the times, and it expands into social meaning. The face of the close-up does not laugh at all, the gesture symbolized by the curved rear view is exaggerated disorderedly and disturbingly, and the voice using dialect accent does not follow the standard of the vocal.

• Phonetics and Speech Sciences
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• v.11 no.1
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• pp.51-61
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• 2019

The purpose of this study was to develop a smartphone based voice therapy program for patients with voice disorders. Contents of voice therapy were collected through analysis of mobile contents related to voice therapy in Korea, experts and users' demand survey, and the program was developed using Android Studio. Content needed for voice therapy was collected through analysis of mobile contents related to voice therapy. The user satisfaction evaluation for application was conducted for five patient with functional voice disorders. The results showed that the mobile contents related to voice therapy in Korea were mostly related to breathing, followed by voice and singing, but only 13 applications were practically practiced for voice therapy. Expert and user demand surveys showed that the patients and therapists both had a high need for content that could provide voice training in places other than the treatment room. Based on this analysis, 'Home Voice Trainer', an smartphone based voice therapy program, was developed. Home Voice Trainer is an application for voice therapy and management based on Android smartphones. It is designed to train voice therapy activities at home that have been trained offline. In addition, the records of voice training of patients were managed online so that patients can maintain voice improvement through continuous voice consulting even after the end of voice therapy. User evaluations show that patients are satisfied with the difficulty and content of voice therapy programs provided by home voice trainers, but lack of a portion of user interface, such as the portion of home button and interface between screens. Further study suggests the clinical application of home voice trainer to the patients with voice disorders. It is expected that the development study and the clinical application of smart contents related to voice therapy will be actively conducted.

• Cartoon and Animation Studies
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• s.39
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• pp.261-295
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• 2015

Cyber singer appeared in the late 1990s has disappeared briefly appeared. although a few attempts in the 2000s, it did not show significant successes. cyber singer was born thanks to the technical development of the IT industry and the emergence of an idol training system in the music industry. It was developed by Vocaloid 'Seeyou' starting from 'Adam'. cyber singer that differenatiated typical digital characters in a cartoon or game may be subject to idolize to the music as a medium. They also feature forming a plurality of fandom. therefore, such attempts and repeated failures, this could be considered a fashion, but it flew content creation and ongoing attempts to take advantage of the new media, such as Vocaloid can see that there are expectations for a true Cyber-born singer. Early-Cyber singer is made only resemble human appearance, but 'Sciart' and 'Seeyou' has been evolving to becoming more like the human capabilities. in this paper, stylized cyber singer had disappeared in the past in the process of developing the technology to evolve into own artificial life does not end in failure cases, gradually led to a change in public perceptions of the image look looking machine was an attempt in that sense. With the direction of the evolution of the mechanical function to obtain a human, fun and human exchanges and mutual feelings. And it is equipped with an artificial life form that evolved with it only in appearance and function. in order to support this logic, I refer to the study of the coevolution of man and machine at every Bruce Mazlish. And, I have analyzed the evolution of cyber singer Bruce research from the perspective of the development process since the late 1990s, the planning of the eight singers who have appeared and design of the cyber character and important voices to be evaluated as a singer (vocal). The machine has been evolving coevolution with humans. cyber singer ambivalent development targets are recognized, but strive to become the new artificial creatures of horror idea of human desire and death continues. therefore, the new Cyber-organisms are likely to be the same style as 'Seeyou'. because, cartoon forms and whirring voice may not be in the form of a signifier is the real human desires, but this is because the contemporary public's desire to be desired and the technical development of this type can be created at the point where the cross-signifier.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.5-47
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• 2013

Among the styles of performing arts, perhaps the genre that has attracted the largest audience would be musical. Popularity of musical has brought diverse changes in our performing arts market, and, upon emerging another musical genre, called 'Korean Traditional Musical Comedy,' it has been well-received by the audiences. 'Korean Traditional Musical Comedy' is a word that are formed by merging two other terms such as 'Korean Traditional Music' and 'Musical (Comedy).' In the meantime, however, it has yet some problems in order to be defined as the genre that has concrete concepts. It is because the term such as Korean Traditional Musical Comedy was created being closely associated with a marketing purpose rather than a term that defines the characteristics of a genre of performing arts. Although this new musical genre has drawn attentions of many audiences by adding 'Musical Comedy' to 'Korean Traditional Music' that was not quite popular to the public, it still does not have any established forms so that there is a fine line between "Korean Traditional Musical Comedy" and another genre like traditional style folk opera ("Changgeuk"). Looking at the characteristics of the musical work called 'Korean Traditional Musical Comedy, in general, first of all, it is a performance where music and drama are played. Here, the distinctive characteristic of this musical is that 'Korean Traditional Music' is sung. And the kinds of Korean traditional musics being sung are mainly Pansori (dramatic story-singing) and folk-songs, and, in most cases, Korean traditional musical instruments are being used as accompanying music. In this paper, the researcher investigated the aspects of experiment centering around Korean Musical Group, Taroo. These days, various experiments has been repeated not only for the works of Taroo but other musical work presently called 'Korean Traditional Musical Comedy' also. Having encompassed overall performance factors including use of musical instruments, dance, acting, materials for drama as well as music in drama, the researcher has gone through experiments repeatedly. Meanwhile, however, the subject matters that make 'Korean Traditional Musical Comedy' mostly attractive to the audiences are music and songs or sounds. ["Sori" also called "Chang" (唱)] Particularly, under the current situation of our musicals, the role of "Sori" is extremely important. The factor that plays absolutely most important role in acceptance and transformation of "Sori" is the created Pansori. Since the created Pansori is composed with new rhythmic patterns and new narrative poems, it tells the present story. Also it draws good responses from the audiences owing to easy conveyance of dialogues. And, its new style brings diversification to organization of musical instruments, so then this leads to the arrangements of music for Korean traditional music instruments, as well as instrumental music ensemble, orchestra, and jazz band, etc. Likewise, upon appearing creative musics in 'Korean Traditional Musical Comedy,' professional music and vocal compositions have begun to emerge naturally. And, the song specialist and writer, of course, staffs including direction, lighting, and sounds, etc are required. That is, professional composition method are forced to be introduced to all areas. Other than this, there are many music pieces which are based on our unique songs and sounds ("Sori") and such traditional factors as use of lead singer for ceremony or chorus, and the method that puts weight on Pansori. Accordingly many things accomplished. However, it is required that 'Korean Traditional Musical Comedy' go through numerous discussions and more experiments. Above all, the most important things are the role of actor and actress, and their changes, and training of actor and actress further. Good news is there are good audience responses. 'Korean Traditional Musical Comedy' is an open genre. As musicals are divided into several domains according to the characteristics thereof, 'Korean Traditional Musical Comedy' will be able to show its distinctive features in various styles according to embodiment.