• The Journal of the Korea Contents Association
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• v.18 no.11
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• pp.13-29
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• 2018

An increasing number of people in their lifes have used personal web-casting services as a new type of broadcasting, whose power has grown in the broadcasting market and industry. Nevertheless, limited research concerning personal web-casting has been conducted so far. This research explored consumption structures of personal web-casting users in terms of their genre usage based on the theoretical concept of genre repertoire. And it also examined what determinants have influences on these structures by focusing on as an representative case in South Korea. The findings showed that sensation seeking, motivation for getting information and social presence affect genre repertoire of personal web-casting users. They also indicated that there is a moderating effect of social presence in the relationship between motivation for joy and genre repertoire.

• Korean journal of communication and information
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• v.36
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• pp.374-398
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• 2006

This paper attempts to identify motivations of the satellite DMB use and to examine the relationship between user motivations and structure of genre consumption. Firstly, this paper identified motivational dimensions for satellite DMB usage. The results of the factor analysis revealed three dimensions: information-seeking, entertainment-oriented and social communication. It accounts for 69.9% of the variances found within this data. Secondly, the results of the regression analyses suggested that both information seeking and entertainment-oriented motivations were closely related to genre preferences of satellite DMB contents. In addition, these two motivations predicted genre repertoires and similarity in genre consumption. In conclusion, motivations of the satellite DMB use were the best predictors for explaining the structure of genre consumption.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1163-1190
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• 2010

Korean EFL learners' stylistic sensitivity was examined through the two types of letter writing, professional and personal. The base of comparison with the English native speakers' stylistic sensitivity was the linguistic style markers that were statistically found by Biber's (1988) multi-dimensional model of variation of English language. The main finding was that Korean university students were sensitive to stylistic difference in the correct direction, though their linguistic repertoire was limited to the easy and simple linguistic features. Also, the learners were skewed in the involved style in both types of the letters unlike the native speakers and it was interpreted as due to the general developmental direction from informal to formal linguistic style. Learners were also skewed in the explicit style in both types of letters unlike the native speakers and it was interpreted as due to the learners' heavy reliance on one particular linguistic feature. As a whole, the learners' stylistic sensitivity heavily relied on the small number of linguistic features that they have already acquired, which happen to be simple and basic linguistic features.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.71-86
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• 2021

The purpose of this study is to reveal the significance of musicals and find a way to utilize them in Korean language culture classes for foreigners. Korean language education aims to improve communication skills, and cultural education is necessary to help students understand not only the language but also the social background and context of the language. Accordingly, the author of this study has put together a lesson plan for Korean culture incorporating musicals, a topic that has been heretofore disregarded in Korean language education. Musicals are an appealing art medium for Korean language learners, as they provide striking visuals centered around distinct narrative structures and music. The musical "Swag Age: Shout out Joseon!," which this study focuses on, provides particularly suitable content, as it deals with social issues that are relevant even in contemporary Korean society and includes sijo (poetry), which can be used to teach traditional Korean literature. Based on the above characteristics, the author of this study outlines a Korean culture lesson plan teaching sijo through the musical "Swag Age: Shout out Joseon!" The class will be for learners of intermediate level and above, and consists of 4 sessions: 1) Understanding the overall plot of the musical, 2) Learning about Korean sijo, 3) Writing sijo based on your own life, and 4) Presenting your own sijo. This culture class is significant in that it goes beyond simply learning about sijo and enables students to internalize the meaning of and actively enjoy sijo by writing their own versions. In addition, it is expected to be a compelling class that, on top of its educational value, introduces and allows students to experience a wider range of Korean popular culture by adding the musical genre to the common repertoire of movies, dramas, plays, and pop songs often covered in Korean culture classes.

• (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.

• (The) Research of the performance art and culture
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• no.39
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• pp.357-392
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• 2019

This paper reexamines the formation process of Ch'anggŭk, Korea's musical drama based on p'ansori in the 1930s, focusing on the Ch'anggŭk gramophone records and the repertoire of the Chosŏn Sŏngak Yŏn'guhoe(Korean Vocal Music Association). The paper discussed the achievements and limitations of the Chosŏn Sŏngak Yŏn'guhoe which was at the center of the formation of Ch'anggŭk by examining the activities of the Chosŏn Sŏngak Yŏn'guhoe in the 1930s. The role of 'ipche-chang' and 'narrator' in the Ch'anggŭk gramophone records was seen as Ch'anggŭk imagination that was realized by the members of the Chosŏn Sŏngak Yŏn'guhoe who recognized the 'dramatic space and stage', which is distinct from p'ansori, Korean traditional vocal and percussion music. In addition, the paper discussed the difference and meaning of the concept of 'Sin-Ch'anggŭk' between Seo Hang-Seok and Song Seok-Ha, which is derived from the Ch'anggŭk formation. The performance of stage Ch'anggŭk in the 1930s was a repetition of the discussion that it should reach a point of Kagŭk, music or song dramas. This paper discussed the process of replacing the term 'Ch'anggŭk' with 'Kagŭk' at the time, and examined the way Ch'anggŭk stage was established as a perfect form during the process. The formation of Ch'anggŭk by members of the Chosŏn Sŏngak Yŏn'guhoe could be an important achievement in the history of Ch'anggŭk, but there was no choice but to reveal the limitation in the formal aspect due to the 'refinement' and 'exclusion' according to the cultural policy of Japan. P'ansori musicality was enhanced, but it could not contain the spirit and diversity of the times, so it could be said that there was no choice but to stop as a rudimentary creative imagination of Ch'anggŭk. Ch'anggŭk is a genre that is inherently limited, but the limitation can be overcome over the times, which will be covered in a subsequent paper.