• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.46-56
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• 2019

This study aimed to understand the value pursued when consuming performances for classical music performance audiences, to identify the difference in influence by type, and to expand into the base of academic research focusing on audiences who are consumers in classical music performances, which was the existing supplier-centered. Also, this study tried to verify the effect of consumption value on flow and satisfaction. and we aimed to prove whether consumption value leads to re-spectating intention through structural relationship. For this purpose, a survey was conducted on the audience who watched classical music performances within one year by applying consumption value theory, and the analysis was conducted using smartPLS 3.0. As a result, functional value and emotional value had an effect on flow. The second one is that functional value had a positive effect on satisfaction. The third fact is that social value had a negative effect. Overall, the structural relationship between flow, satisfaction, and re-spectating intention had a strong effect on each other. Implications of this study are that the market characteristics and current status of classical music performances were examined, and that an effective marketing strategy to increase the re-spectator rate was sought by finding out the factors of audience's consumption value that affect viewing satisfaction.

• Journal of the Korean Society for information Management
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• v.36 no.2
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• pp.223-254
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• 2019

The research on the archiving performing arts has recently been conducted on various aspects in Korea, but there has been no research or attempts to build a digital archive that can systematically identify the information on classical music performances in one place and get the past performance information. In this study, we proposed a participatory archive portal for providing, preserving and servicing information on all classical music performances, and tried to design the functions based on the requirements of the performance archive portal identified in previous research. We identified and proposed functional requirements of the portal, reorganized the characteristics of classical music performance information, and designed metadata elements. Then we presented the design and implementation direction of search and facet navigation, as well as user participation and communication functions. Lastly, we developed a prototype that implemented the requirements of the interface.

• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.168-182
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• 2016

The domestic market for performances and concerts is rapidly growing. However, despite of the various efforts to attract audience, the market still struggles in securing consumers for classical music performances. In this context, the following thesis first explores the factors that determine the choice of performances through open-ended questions to categorize the types of consumers based on the results. Then, effects of different factors of choices for each type of consumer are studied to find out how these factors affect the consumers' purchasing decisions. As a result, 35 factors out of the 40 factors were ultimately confirmed as the factors that determine the consumers' choice for purchasing classical music performances. Then, the 35 factors were classified into seven categories. Moreover, an empirical analysis showed that personal factors, factors regarding contents of the performance, information factors, environmental factors and marketing factors had significant effects on the consumers' purchasing decisions. The degree of influence of the factors for each type of audience varied. This study conclusively seeks to contribute to developing a more thorough marketing strategies for performance arts institutions and performance venues.

• The Journal of the Korea Contents Association
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• v.18 no.9
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• pp.661-674
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• 2018

This paper studies how the audience perceives the types of classical performances in their performance choice, analyzes its effects on performance invigoration, and investigates how such an audience perception affects the marketing application of performance on the supply side. For this, based on data of performance programs delivered in five representative concert halls for last three years as well as the classification of previous literature, we classified performance types into five categories such as Authentic classic, Omnibus, Lecture, Crossover and Mixture type. And then, we surveyed the audience of classical music. From statistical analyses, we found first that the audience perceives the types of classical performances and utilizes their perception as an element in choosing performances. Second, the perception of classical performance types has significant effects on audience development and progress in circumstances of high audience acceptance and satisfaction. Finally, this result confirms that suppliers can employ this audience perception as a marketing strategy by setting target audience based on such perception.

• The Journal of the Korea Contents Association
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• v.20 no.1
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• pp.60-72
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• 2020

The recent surge in live streaming has also changed the market for classical performing arts. Now more than just recording live performances, content specific to live streaming platforms is being produced, and live streaming is emerging as a new alternative to promoting and enjoying classical performances. Therefore, this study empirically analyzed the effect of service quality factors of the classical live streaming performance on the viewer satisfaction and the purchase intention of the on-site performance over the data collected from 198 viewers. Results suggest that, among the service quality factors of the classic live streaming performance, video content, convenience, and price, except for real-time interaction, affected the viewer satisfaction, and viewer satisfaction in turn affected the purchase intention of the on-site performance. Thus the publicity effect of live streaming for classical performing arts seemed to be proved.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.65-77
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• 2014

This paper is on the reproduction of kwanmo, which is worn by the dancers in Taepyeongjiak at the National Classical Music Institute, focusing on Jinhyunkwan, Pybyun, Buyongkwan. Taepyeongjiak is a performance of the court banquet called Hoeryeyeon held during the 15th year of Sejong'reign(1433). The Hoeryeyeon performances were held on January 1st and December 22nd, to strengthen the good relationship between the King and his officials. The reproduction of kwanmo worn by the dancers was reproduced for the modern performances on the basis of the literature and relic research. The results of the study are as follows. Jinhyunkwan is the kwanmo that is associated with the literature and it comes from an old Chipokwan, is confirm that liang(梁) of Chipokwan's characteristic vanished. Pybyun is kwanmo which is associated with the military, comes from Jeolpung. The incision line was formed to make the corn shape, and this became the liang(梁). Buyongkwan is corolla adorned with lotus, and is highlighted with colored string of beads. Unlike other corollas, its gilt lotus was adorned with purple-yellow braids.

• Korean Association of Arts Management
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• no.55
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• pp.39-73
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• 2020

The recent rapid increase in single-person households has had a significant impact on the art performance market as well as the overall consumption trend. With the proportion of one-person viewers in the form of viewing the performance nearly half, the new term "Hongongjok" is widely used. Representing the trends of 'one-person consumption' and 'consumption for me' is the concept of 'self-gift' that consumes special for myself. This study introduced the concept of self-gift as a framework for understanding a new group of performance viewers who lavishly investing in consumption for one's sake. It also demonstrated how self-gift motivation affects the perceived value and the intention of self-gift. As a result of the analysis, the motivation for reward, therapeutic personal disappointment, and therapeutic negative mood reduction of the self-gift had a significant effect on the intention of self-gift through the perceived value of classical music performances. In addition, it was also revealed through the multi-group analysis that there was a significant difference in the effect of self-gift motivation factors between a single viewer and two or more accompanying viewers. This study contributes to the fact that the art performance industry can be provided the first theoretical basis for understanding these customer groups in order to respond to the consumption trend for one-person viewers. It also offered practical implications for revitalizing the stagnant classical music performance market by framing the art performance as a self-gift.

• 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.

• KIEAE Journal
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• v.8 no.2
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• pp.11-21
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• 2008

The purpose of this study is to interpret the visual and auditory images and cognitive characteristics about townscapes in Namwon city. It was acquired the survey results about 8 types of verbal interviews and 2 kinds of sketch maps which are based on urban images from 102 Namwon residents. They held in a variety of images of Namwon in their minds such as Jiri mountain, clean environment, sightseeing, special products, urban/building structures, Korean classical music, historical novel, local sports, and emotional images. The nice streets or places which the residents recommended are the places which have abundant natural areas, psychological peace and rest, available space for physical activity, places for performances and events, and regional attractions. The streets or places which they didn't like are decadent places, and areas of crowded traffic. The transition times of visual and auditory scene can be classified with the Saemaul movement in the 1970's(the rural new community movement) and the improvement of the city in the 1990's. The elements of visual images in Namwon city on the basis of the cognitive maps were expressed such elements as paths, districts, nodes, edges, and landmarks. The elements of auditory images, which are on the basis of the concept of the soundscape, included sounds of narrative musical form unique to Korea; p'ansori, sounds of traditional markets, and sounds of nature. It was found that the imageability of visual and auditory images is relatively clear in specific areas in Namwon city.

• (The) Research of the performance art and culture
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• no.36
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• pp.255-287
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• 2018

This article deals with one of the pansori master's life and activities. Bak Songhui(1927~2017), who was the holder of National Intangible Cultural Asset No. 5 for pansori Heungboga. She had played a significant role through the modern history of pansori genre including Yeoseong Gukkeuk(Korean classical opera by women) and Changgeuk(Korean traditional opera in pansori style) as well as original pansori itself. In the article, the early stage of her learnings and the way she got involved to pansori from Gwonbeon period are offered, and the activities by group, solo recitals, and educational activity lists are also provided. Bak Songhui began to learn pansori, Geommu(dance), Seungmu(dance), Gayageum, Yanggeum, and Gagok genres at her age of 13 in Gwangju. She fulfilled 5 years of study in Gwangju Gwonbeon, and entered to a Hyeomnyulsa-travelling theater company, led by Gim Yeonsu at her age around 19. Later, Bak used to be an actress in Yeoseong Gugak Donghohoe(Female Korean music fans' club) led by Gim sohui as well as in Haennim Gukkeukdan, and Saehan Gukkeukdan at around her age of 30. She took the main actress' role in several performances. And thanks to her effort, the Yeoseong Gukkeuk can be one of the representative genre in history. As she entered to the National Changgeuk company, her brilliant talents worked well by leading the company's big hit with her talents of taking many different characters, devotions, and know-hows from her experience. After her 70s, she kept the pansori go on its right way to pass down. She unfolded pansori performances as well as her own students' public presentations, recordings, TV and radio broadcasting activities as the holder of National Intangible Cultural Asset. The activities that Bak Songhui showed us can become another chance to make her a great master of pansori, especially in Dongpyeonje style.