• (The) Research of the performance art and culture
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• no.22
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• pp.287-325
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• 2011

This paper studies the time-space and appreciation of the performance culture of Gwanseo region, which is considered to have formed a characteristic culture in late Joseon period. For this purpose, 4 gasa written in hangeul (Korean alphabet), as well as 4 yeonhaeng gasa, 108 articles of Gwanseoakbu were examined. Plus, among the 9 types of yeonhaengrok (Documents of Performance culture) written in Chinese character, those parts which describe the performance traits have been analyzed. Then, 'main list of terminology' has been deduced based on the categorization according to the following points : 1) subjects of performance and appreciation 2) time and period of performance 3) space of performance 4) contents of performance 5) background and motive for performance and 6) method of performance. Through this process, various 'nouns' and 'predicate verbs' in relation to performance culture emerged, which were systemized according to types of performance elements and categories. Major terminology includes predicate verbs and symbolic verbs such as nokuihongsang,' 'baekdaehongjang,' 'jeolsaekgeumga,' 'cheonga,' 'hwaryu,' 'gamuja,' and 'tongsoja,' as well as the terms already known such as gisaeng, iwon, yangbang, akgong, and jeonak, which refer to musicians and dancers. Subjects of performance were divided into performers and listeners, categorized into concert, music, and dance, according to performance form. In the case for music, it was divided into instrumental or vocal, solo or accompanied (byeongju, self-accompaniment). In the case for vocal music, noteworthy was the inclusion of profesional artist's singing (called gwangdae or uchang). The record of 23 names of popular artists from Gwanseo region, with mention of special talents for each person, reflects the degree of activeness and artistic level of the province. Depending on the appreciating patrons, the audience were indicated as the terms including 'yugaek (party guest),' jwasang,' 'on jwaseok,' and 'sonnim (guests).' It seems that appraisal for a certain performance was very much affected by the tastes, views, and disposition of the appreciating patrons. Therefore it is interesting to observe different comparative reviews of concerts of different regions given by literary figures, offering various criticism on identical performance. In terms of performance space, it has been divided into natural or architectural space, doing justice to special performance sites such as a famous pavilion or an on-the-boat performance. Specific terms related to the scale and brightness of stage, as well as stage props and cast, based on descriptions of performance space were found. The performance space, including famous pavilions; Yeongwangjeong, Bubyeokru, Baeksangru, Wolparu, and Uigeomjeong, which are all well-known tourist sites of Gwanseo province, have been often visited by viceroys. governors, and envoys during a tour or trip. This, and the fact that full-scale performances were regularly held here, and that more than 15 different kinds of boats which were used for boat concert are mentioned, all confirm the general popularity of boat concerts at the time. Performance time, categorized by season or time of day (am/pm/night) and analyzed in terms of time of occurrence and duration, there were no special limitation as to when to have a performance. Most morning concerts were held as part of official duties for the envoys, after their meeting session, whereas evening concerts were more lengthy in duration, with a greater number of people in the audience. In the case of boat concert, samples include day-time concert and performances that began during the day and which lasted till later in the evening. Major terminology related to performance time and season includes descriptions of time of day (morning, evening, night) and mention of sunset, twilight, moonlight, stars, candles, and lamps. Such terms which reflect the flow of time contributed in making a concert more lively. Terminology for the contents of performance was mostly words like 'instrumental,' 'pungak,' or 'pungnyu.' Besides, contextual expressions gave hints as to whether there were dance, singing, ensemble, solo, and duets. Words for dance and singing used in Gwanseo province were almost identical to those used for gasa and jeongjae in the capital, Hanyang. However, many sentences reveal that performances of 'hangjangmu' of hongmunyeon, sword dance, and baettaragi were on a top-quality level. Moreover, chants in hanmun Chinese character and folk songs, which are characteristic for this region, show unique features of local musical performance. It is judged that understanding the purpose and background of a performance is important in grasping the foundation and continuity of local culture. Concerts were usually either related to official protocol for 'greeting,' 'sending-off,' 'reports,' and 'patrols' or for private enjoyment. The rituals for Gwanseo province characteristically features river crossing ceremony on the Daedong river, which has been closely documented by many. What is more, the Gwanseo region featured continued coming and goings of Pyeongan envoys and local officers, as well as ambassadors to and fro China, which required an organized and full-scale performance of music and dance. The method of performance varied from a large-scale, official ones, for which female entertainers and a great banquet in addition to musicians were required, to private gatherings that are more intimate. A performance may take the form of 'taking turns' or 'a competition,' reflecting the dynamic nature of the musical culture at the time. This study, which is deduction of terminology in relation to the time-space and appreciation culture of musical performances of Gwanseo region in late Joseon period, should be expanded in the future into research on 'the performance culture unique to Gwanseo region,' in relation to the financial and administrative aspects of the province, as well as everyday lifestyle. Furthermore, it could proceed to a more intensive research by a comparative study with related literary documents and pictorial data, which could serve as the foundation for understanding the use of space and stage, as well as the performance format characteristic to Korean traditional performing arts.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.88-99
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• 2016

Traditional Performing Arts is a key element of national competitiveness that represents the identity of a country. Preserving traditional performing arts such as traditional culture overall aggregate such as literature, art, music, dance, theater and enable it to meet future national culture is to secure a competitive brand. Meanwhile, it shrouded in advance global success of K-pop and TV content, such as our popular culture, but our traditional performing arts sector, there has been a steady effort to receive the attention of the world and expanding capacity and performance. Now, this point will be a new policy approach needed to expand more popular in both domestic and world demand in traditional performing arts. In this study, we propose a strategic plan to raise the popularization and industrialization of our own needs and unique traditional performing arts opportunities for successful overseas expansion and promotion of the content of traditional performing arts.With the help of information technology.

• Journal of Digital Contents Society
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• v.16 no.5
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• pp.823-834
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• 2015

This study analysed motion graphic formative image composition of TV LED backdrop to be used as background display for performers such as singers appeared on TV music show. Motion graphic LED images are comprised of various plane figures, and backdrop's design function as background screen has a goal to convey synesthesia and sensibility of visual elements. And this analyse classified sensibility concept about color, motion direction and speed to be elements of transmitting sensibility. As the analyse of graphic form among transmitting sensibility elements, this classified form type into its' applied elements, and studied how these elements' motion pattern and arrangement could be placed and replaced at song's four step composition, intro, verse, bridge, chorus part, and also characterized differences of backdrop design for male and female performers. As a case study, it included terrestial broadcasting TV song ranking shows targeted at teenagers. Because they carried out various motion design utilizations. Finally, this reasoned out mainly designing form type, its' applied elements, motion pattern and its' arrangements type division according to the song developing four steps.

• (The) Research of the performance art and culture
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• no.22
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• pp.223-252
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• 2011

If we remember that modern world history has built systems of meaning through the concepts "difference," "different," and "other-ness" and has constructed new identity based on opposing hierarchy, music anthropology which tried to build "difference" between the west and the non-west was thoroughly west -centered, in the sense that it has perceived the heterogeneous symbolic systems among nations, as well as the barrier between the two cultures. On the other hand, world music, which has emerged as the most attractive field in culture industry and concert-art-market by crossing over global capitals, markets, and barriers, can be considered the most post-modernist and glocal. However, it is interesting to note that world music, which has been described as post-modern and glocal, has "difference" and "different" in its basis, just like the precepts for modern music anthropology (Meintjes 1990; Guilbault 1993; Taylor 1997; Frith 2000; Feld 1988). Furthermore, one can understand that the "different" and "difference," generally termed as being "non-western," are fundamentally based on ethnic or national imagination. In this sense it is interesting and important to examine such ethnic imagination in the "non-western ethnic musics" in music anthropology and in world music. Notwithstanding the attention paid and research made by music anthropologists, they have failed to elevate the "non-western ethnic musics" to become universally communicative, and these ethnic musics were reborn as "global" and "world music," through the process of "acculturation," "derivation," and "hybridization," with the west as major site for production and consumption. Meanwhile, the audience for world music, which did not exist before the birth of world music as a term, was now born as world music emerged. They are global populace who consume the musical "difference" and "imagined ethnicity," who through their consumption are constructing new social meanings including ethnicity, race, nation, and class identity. This study, by examining current discourse, performance, and process for the world music through media and field studies and scholarly debates, attempts to understand the production and consumption of "imagined ethnicity." This will also shed light on how "ethnicity" is created and consumed, and how this is involved in the process of world music.

• Cartoon and Animation Studies
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• s.51
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• pp.1-33
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• 2018

In contemporary performance arts, we can see diverse types of performances that use advanced technology and visual media. It is notable that animation based on narratives and images, is grafted on to performance arts. Cases emerge that introduce animation in opera performances as part of a new stagecraft. Regietheater that turns on directors' interpretation, has been expanded in full scale through major music festivals and theaters through many different attempts to embody. In this state, recently visual media have been actively employed in opera performances. It has led to expansion of time and space along with more attempts. Not least of all, introduction of animation has been conducive to reinforcing functionality of opera performances in many aspects. This study suggests requirements for ideal Regietheater production in opera performances. For this end, the functions of animation strategically used are evaluated through analyzing $Zauberfl{\ddot{o}}te$)> production of Komische Oper Berlin. Through this research, this study is to look deeply into effects created from new and different attempts by grafting animation on to opera performances.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.15 no.2
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• pp.229-238
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• 2015

This study is to look into importance and achievement on awareness of creative musical audiences, who use SNS, by the use of Importance Performance Analysis(IPA), and to find ways to improve the recognition of creative musical by performance enterprise. In other words, the study is to discover choice attributes, that need to be urgently improved, which importance is rated high but which achievement is rated low. As a result, it is learned that composition of content(memorable dialogue), admission fee(ticket prices, charges of using additional facilities), theater(parking), composition of stage(acoustics of the stage), staff services(ticket box staff, usher, and etc. are should be properly controlled by staff expertise) need to be consistently improved. In addition, it is learned for SNS non-user group that choice items such as creative musical choice attribute(admission fee), composition of stage(acoustics of the stage), production(overall music from a musical), admission fee(ticket prices, charges of using additional facilities), and theater(parking) need to be improved.

• Proceedings of the Korean Society of Computer Information Conference
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• 2021.07a
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• pp.431-432
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• 2021

유네스코 창의 도시 네트워크는 문화예술 분야에서 국제 수준의 경험이나 지식, 전문기술을 가진 창의도시 간 네트워크를 의미한다. 우리나라 7개 분야에서 총 8개의 창의도시가 존재하며, 대구의 경우에는 음악 창의도시로 선정되었다. 본 연구는 음악 창의도시 대구 관련 전문가들을 대상으로 PCSI 모델을 기반으로 한만족도 설문조사를 실시하였다. PCSI 2.0 모델을 기반으로 서비스 내용 품질, 서비스 전달 품질, 서비스 환경 품질, 사회적 책임, 불일치, 성과 그리고 만족도라는 변수를 설정하였다. 따라서 본 연구는 세 가지 품질과 사회적 책임 및 불일치가 만족도에 영향을 미치고 만족도는 성과에 영향을 미친다는 것을 검증하고자 하였다. 대구가 창의도시로서 역할 정립을 새롭게 하고 발전방안을 수립할 수 있는 기틀을 마련하고자 한다.

• (The) Research of the performance art and culture
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• no.39
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• pp.749-774
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• 2019

In the situation where the interest of the academics related to the Hyangje Samhyunyukgak is increasing, the task of identifying the identity of the Hyangje Samhyunyukgak should precede. In this paper, we will discuss the characteristics of the Hyangje Samhyunyukgak distinguished from the court style Samhyunyukgak. First, we will discuss the characteristics of instrument organization. In the form of the Hyangje Samhyunyukgak, the composition of the musical instrument is flexible. Depending on circumstances such as the geographic region or the composition of the player, the set of instruments were added or reduced. The second part relates to composition of music. Among the various pieces of music, a piece of music to be selected in a specific situation is music pieces related to the use of the piece of music in depth. In this phenomenon, the music with the greatest change is Geosangak(거상악). The music played as Geosangak repertoire showed various musical pieces that are related to various situations in different regions. Finally, I would like to discuss the problems related to the origins of Hyangje Samhyunyukgak music. Compared to the songs of Ginyeombul(긴염불), Gutgeori(굿거리), and Taryeong(타령), it is difficult to totally exclude the relationship from the local music genre. And I could guess that such a common denominator was closely related to the Jangdan.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.263-273
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• 2020

In 2019, Disney's musical film "Aladdin" was newly introduced with Princess Jasmine's theme song "Speechless," which was not featured in the animation "Aladdin" in 1992. Written as a theme song, "Speechless" expresses Princess Jasmine as a self-reliant, enterprising and dignified woman. The song made the change in Princess Jasmine's character very articulate. She has developed herself as an active and enthusiastic character from a rather passive and reserved figure. The musical film "Aladdin" has drawn much attention and love from many audiences with its own narrative and original songs, but the addition of a new theme song "Speechless", which was not in the animation in 1992, made the musical film "Aladdin" even more powerful and meaningful. The study examined the organic relationship between the musical features and narratives of the newly included theme song 'Speechless' in the musical film Aladdin. Through the analysis of the six scenes that include the musical features of the theme song "Speechless," the study looked at how the relationship between music and narratives had an influence on cinematic expression.

• 프린팅코리아
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• v.10 no.11
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• pp.114-115
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• 2011

제7회 서울와우북페스티벌이 지난 9월 28일부터 10월 3일까지 6일간 홍익대 주차장거리와 갤러리, 북카페 등에서 개최됐다. 이번 축제의 주제는 '책에, 취하다'로 문화체육관광부(장관 최광식)의 지원으로 약 100여개의 출판사가 축제에 참여했다. 10월 1일에 열린 개막 행사는 국내 최초의 기상캐스터 출신 방송인 이익선 씨의 사회로 김묵원 작가의 동양화 기법을 타 장르와 유기적으로 결합한 드로잉 퍼포먼스와 인디가수 '박솔'의 공연 등이 어우러져 화려한 개막 공연이 펼쳐졌다. 10월 2일에는 한국 캘리그래피의 개척자인 이상현 작가가 어쿠스틱 밴드 송 브리즈와 협연하여 캘리그래피와 음악의 조화를 보여줬다. 그 외 아트워크 집단인 '마스터 브릿지', 싱어송라이터 '양창근' 등이 공연을 펼쳤다. 거리 행사 마지막 날인 10월 3일에는 마포구 지역의 예술가들이 로컬 콘서트를 열어 마포구만의 특색 있는 공언을 선보였다.