• Journal of Music and Human Behavior
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• v.11 no.1
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• pp.63-82
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• 2014

This qualitative study investigated how a music therapy program was experienced by juvenile offenders of school violence who were under a conditional suspension of indictment. Six adolescents participated in 12 consecutive weeks of group music therapy sessions, and were interviewed individually based on open-ended questions addressing key constructs of self-determination theory, which are autonomy, competence and relatedness. Using this framework, data was deductively analyzed using a modified grounded theory. The analysis also investigated how such impact of music therapy transferred or expanded to their everyday life. The analysis revealed that the properties of autonomy included making choices of songs and instruments, deciding how to play, and expressing opinions about music. Competence was associated with developing skills on musical instruments, creating own music, concentrating on their own project, and demonstrating their abilities. Relatedness were related to collaborating, exchanging opinions, and playing a part in musical projects. In addition, it was found that they also experienced shifts in consciousness and behavior, expanded self-awareness, and mutual exchange and group support. Lastly, it was revealed that the positive emotional and behavioral changes they experienced in music also appeared in their school life.

• Korean Journal of Culture and Social Issue
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• v.19 no.2
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• pp.285-318
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• 2013

The purpose of this research is to examine the self-concept in the cyberspace, self-efficacy, relationship with friends, subjective well-being and academic grade among adolescents who are addicted to Internet and those who are not addicted to Internet. A total of 1,057 adolescents (male=545, female=512), 326 from middle school, 361 from high school, and 370 from special education school, participated in the study. The results are as follows. First, qualitative analysis of the conception of self in the cyberspace indicates that those adolescents addicted to Internet reported that in the cyberspace they have fun, followed by they are the same as in real life, they spend time in cyberspace and they can become an imaginary person. Those adolescents not addicted to Internet reported that in the cyberspace they are the same as in real life, followed by they spend time in cyberspace and they can become an imaginary person. When they play Internet games, majority of adolescents in both groups reported that it is fun, followed by they become engrossed and they become aggressive. Second, those adolescents who are not addicted to Internet had higher scores on self-efficacy than those adolescents who are addicted to Internet, including self-regulatory efficacy for learning, relational efficacy, and resiliency of efficacy. Third, the number of friends and close friends that adolescents who are not addicted to Internet were not significantly different from those adolescents who are addicted to Internet. However, those adolescents who are not addicted to Internet were more likely receive social support from friends and were less likely to be social excluded than those adolescents who are addicted to Internet. Fourth, those adolescents who are not addicted to Internet had significantly higher scores on subjective well-being than those adolescents who are addicted to Internet. Fifth, those adolescents who are not addicted to Internet had significantly higher scores on both subjective and objective academic grade than those adolescents who are addicted to Internet.

• Korean Journal of Culture and Social Issue
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• v.23 no.2
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• pp.131-157
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• 2017

Loving-kindness & compassion meditation (LCM) is one of the popular intervention on clinical setting to cultivate loving-kindness & compassion for self and other. Shame is known for unconscious and implicit emotion including negative self-concept. Some researchers suggest that people with high shame have difficulty in cultivating loving-kindness & compassion toward oneself because of shame including the negative self-critic. In this research, it is explored the influence of shame for the object of LCM. There are 2 experiments to find out the answer to this question. In experiment 1, participants (N = 108) are randomly assigned to two conditions. The one condition is loving-kindness meditation for self, and the other is loving-kindness meditation for positive others. Dislike and engagement from participants about loving-kindness meditation instruction are measured after meditation for 8 minutes. From the experiment 2, loving-kindness meditation is replaced with compassion meditation from the design of experiment 1. This experiment is conducted because of psychological differences between loving-kindness and compassion. Participants (N = 116) are randomly assigned to two conditions, compassion meditation for self and positive others, respectively. The results of experiment 1 show that dislike of loving-kindness meditation for self seems to high when people have high shame, but shame does not have an influence on engagement. For loving-kindness meditation for positive others, shame seems to not affect on dislike and engagement about loving-kindness meditation instruction. The results of experiment 2 show that dislike is higher for self than for positive others about compassion meditation for people with high shame, but shame does not affect on engagement. For discussion, it is suggested that shame has special features of emotion. For the future, we discuss the therapeutic strategy for people with negative self-concept.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.49-62
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• 2020

Musicals are plays in which songs and dances are closely aligned with the plot development of the play, and songs and dances develop specific situations and a series of events. In particular, songs perform a fuction of causing the significant changes and emotional ventilation and amplification in the play by specifically capturing the goals and actions the characters are aiming for. This paper focuses on the song that takes on the function of the plot deployment, defines songs that embody actions and stories on stage' as 'action songs' and highlights their role and importance. Action Song is not a clearly defined or prescribed term in Musical. However, 'Action Song' is a song about how a character's desire or motivation for action, given as a 'character song' inserted at the beginning of an integrated musical play, provides a conflict that is a central event of action. In other words, 'action song' means a song that organically combines music and narrative by conveying the action on the stage as a song with lyrics. In addition, it is a song that moves the plot forward and contains a series of events or actions that are the material of the plot. This paper is intended to summarize the concept of'Action song which is not well known to us, and to lay the foundation of the stud, learned the concept, function and efficiency by the analyses of script and music of the musical . As a result, action songs accumulate and amplify tension caused by conflicts and induce the audience to immerse in their emotions. At the same time, the action song multiplies fun and interest of the play while the audience's expectation increased for the next scene after the action song and the progression of the play with single action makes the contents of the drama to be understood clearly.