• Russian Language and Literature
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• no.64
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• pp.123-156
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• 2019

Корейско-российский обмен классической музыкой, начавшийся в 1988 году, стал событием, при котором корейская музыка претерпела существенные изменения. С тех пор количество выступлений иностранных трупп возросло более чем вдвое, а с 2000-х годов свыше десяти и иностранных организаций ежегодно встречаются с корейскими зрителями. Активность российских организаций очень заметна, так как около половины из обшего числа организаций приходится на российские группы. Кроме того, даже учитывая влияние качественного развития корейской классической музыки, российские организации представили свои произведения, которые до этого времени не были достаточно освещены внути страны, что дало возможность испытать больше разнообразных музыкальных красок в корейских музыкальных кругах, в котором доминировала европейская музыка. Таким образом, в данной статье рассматриваются история и ход развития обмена классической музыкой между Кореей и Россией, а также исследуются возникающие при этом проблемы. Данный анализ необходим для изучения различных вопросов, которые должны быть рассмотрены с целью осуществления налаженного культурно-художественного обмена между двумя странами в будущем, а также для того, чтобы наши музыкальные круги открыли эпоху "К-Классика" в более подлинном смысле.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.697-706
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• 2023

This study examines the history of string quartet performances and analyzes contemporary integrated performances to propose a new performance paradigm for future audiences. It examines past developments and audience interactions, and how modern classical performance can gain a competitive edge internationally through tech integration. Building on this foundation, a future vision is proposed for Korean string quartet performances, drawing from novel performances that are interconnected with their historical context. The study concludes that modern string quartets necessitate innovative and original performance directions that can be achieved through various technological integrations.

• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.241-255
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• 2016

This study aims at examining the making and distribution course of performing arts and its converged form with technology and industry in terms of the Contents Promotion Act. Since the 2000s, the inter-area contents making and sharing methods have been changing the making and distribution structure of performing arts. The recent production of performing arts contents live videos extends the areas of arts creation and communication beyond the time and spatial boundaries of performing arts and changes the existing systems. The performing arts which started with nowness and spatio-temporal restriction on the premise is now creating a new platform over the spatio-temporal boundary through the live video. Performing arts, in convergence with the areas of technology and industries, expands universal approaches and shows the public value of cultural fairness at public performing arts centers. In this context, this study aims at seeking the possible extension of performing arts contents by examining how the so-called high-class performing arts such as opera, theatre and classical music combines with the visual industry.

• Korean Association of Arts Management
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• no.53
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• pp.5-45
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• 2020

This study aims to deeply analyze the subjective attitude of jazz performance audiences in Korea using Q methodology. In order to establish a population for the research, we decided 'People's mind about jazz performances' as the main topic and finally selected a Q model consist of 38 statements after having a depth interview with corresponding experts. Additionally, from January to February 2019, we implemented a Q-sorting and individual interview to total of 27 people including people majored in music, jazz club members and other citizens. The result were the following. First of all, a musical-interest oriented type. People of this type understood watching jazz performance as a daily leisure activity and went to watch a show more than once a month on overage. Those people obtained information of performances and actors before attending a show using social network such as SNS and jazz clubs. They also had a big desire to have an emotional interaction with jazz musicians while having a fan signing event or performance. Secondly, a general-interest oriented type. This type of people had a tendency of considering watching a jazz performance as a especial experience and not a daily life event. Attending a jazz performance was a novel experience which could be done with their close friends in a special day. Thirdly, people with self-value oriented type. This people were majored in jazz and classic in their universities. As they had a concrete perspective, professional knowledge and experiences, they were more sensitive on the general quality of the performances such as show's sound, light, video, sound system of the theater, player's ability, level of facilities, accessibility, etc. rather than the reputation of an artist. This research did not only revealed jazz audience's subjective tendency using Q methodology but also demonstrated the types of jazz audiences and their characteristics. Therefore, this could be a meaningful study for suggesting a significant implication for the marketing mix of performance planning on each jazz audience type.

• (The) Research of the performance art and culture
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• no.19
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• pp.221-280
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• 2009

This thesis is a study of the rise and the characteristic of 'Hyangto Gakeuk(literally Song drama of the country or local music drama)' in the Early 1940s. During the colonial period, there were attempts to incorporate traditional Korean music elements with Western operatic form. This type of music drama with librettos based on traditional tales came to be known as 'Hyangto Gakeuk'. Mostly 'Hyangto Gakeuk' has led this effort under the director Seo Hang-Suk, the composer Ahn Ki-Young and the lyricist Seol Eui-sik. In the first chapter, the study aims at arranging the performance history of 'Hyangto Gakeuk' composed by Ahn Ki-Young. Also, the study examined representative works after classifying 'Hyangto Gakeuk' performed by Lamila Music Drama Troupe, and Bando Music Drama Troupe. There is significant meaning to evaluate 'Hyangto Gakeuk' in the history of Korean music drama through this analysis of the performance history. In the second chapter, I will analyze with representative works composed by Ahn Ki-Young, a pioneer in the Korean art song. He tried to create the music that held the nationalism and tradition. His works which were called 'Kageuk' laid down the foundation of Korean original operatic style. This study demonstrated characteristics of 'Hyangto Gakeuk' as 'the beginning' in modern musical drama history and its effects on Korean musical drama developments. Namely, 'Hyangto Gakeuk' based on Korean traditions can be seen as examples of original modern musical in Korea. Practically, study on all the aspects of performance not only text generally studied, dramaturgy and criticism, but also performance concept and intention of creators in early period.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.127-139
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• 2021

This study selected representative musical song genres and suggested the application of vocal scales to demonstrate the various musical genres that appear in the modern musical style. Various genres of music and singing methods appeared according to the change in musical style throughout the early period (the early 1990s), the Golden Age (1940s to1960s), and the contemporary period (1970s to present) of musical theatre. To this end, this study selected Classic Broadway, Contemporary Broadway, Jazz/Blues, and Pop/Rock as representative musical genres as primary categories. In addition, five musicals and five songs that can represent the musical genres were selected as secondary categories. This study then divided the singing styles into Legit from , Pop from , Rock from , Jazz/Blues from , and Hip Hop/Rap from and suggested vocal scales. The analysis of this study demonstrated how various music was used as a material for musicals responding to the needs of the times in musical history and how important it is to develop various singing styles. While this study selected five representative genres and musicals to limit the scope of analysis, it intends to expand the scope through follow-up research. Based on this, it is anticipated that various further research will be conducted to study the diversity of musical vocal education and vocal techniques.

• (The) Research of the performance art and culture
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• no.33
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• pp.59-95
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• 2016

The purpose of this study was to examine the text and musical characteristic of , a changgeuk (a Korean traditional opera), by the National Theater of Korea, which was performed overseas with the title of and recognized its artistic values home and abroad alike, focusing on the process of its rebirth from a lost pansori. A changgeuk was dramatized from a lost pansori into a Korean traditional opera. In the process of rebirth of , the content of latter half, which is the performance of a funeral service for the deceased Byeongangsoe, was deleted, and the contents of Ongnyeo's fight against jangseungs in order to take back Byeongangsoe was newly inserted, thus creating textual changes. In addition, as the title presents, Ongnyeo is no longer a conventional lewd woman, but a subjective and independent female who is fighting against fate, different from its original perspective in which the leading character is Byeongangsoe. All the sounds of a changgeuk were made by the creative technique of traditional Korean songs through various attempts, such as inserting chords between performers in order to present most appropriate songs for the opera, namely proper sounds for the hidden side of the opera. In addition, according to the change of mind of performers or characters, the tone and vocal sound of the song were different. In particular, a changgeuk attempted a variety of techniques in the accompaniment of music, and used many sound buks or diverse genres such as popular music, waltz, classic and folk songs of every province, thus presenting challenging attempts. These attempts made the opera more abundant and helped it to be expressed realistically and dramatically. As above, the contents of a changgeuk were borrowed from classical narrations, but its musical aspects got off the technique of traditional changgeuk, thus attempting various changes and techniques. In this vein, it presented a novel modality of changgeuk equiping with the characteristic of 'reviewing the old and learning the new,' thus proposing the directivity and possibility of changgeuk in the present society.