• 제목/요약/키워드: Musical Role

검색결과 84건 처리시간 0.02초

유아의 음악능력과 음악보존개념의 발달 (II) - 음악교습과 음률 교육이 미치는 영향 을 중심으로- (The Effects of Music Lesson and musical and Rhythmic Activities on Young Children's Musical Abilities and Musical Conservation Concepts)

  • 전인옥
    • 가정과삶의질연구
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    • 제10권2호
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    • pp.293-312
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    • 1992
  • The purpose of the present study was to investigated the effects of music lesson and musical and rhythmic activities on young Children's musical abilities and musical conservation concepts. Two kinds of tests aiming to measure musical abilities and musical conservation concept were administered to 117 children aged 5- to 7-year-old. The amount of music lesson at home was investigated. and musical and rhythmic activities at two preschools were observed and them evaluated in terms of their quality . The major findings were as follows ; 1)The individual music lessons at home played a significant role in developing young children's musical abilities and musical conservation concepts. 2) Young children's musical abilities and musical conservation concepts were significantly affected by the quality of musical and rhythmic activities. Especially, the quality of musical and rhythmic activities had significant effects on listening, rhythmic activities, and musical creativity among musical abilities. As to musical conservation concepts. only tempo conservation concept was affected by the quality of musical and rhythmic activities. The balanced activities in the five domains of music education were discussed. some suggestions of improving the quality of music education were provided.

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국악뮤지컬에 나타난 소리(창(唱))의 수용 및 변화양상 연구 - "'국악뮤지컬집단 타루'를 중심으로" - (Studies about Acceptance of Songs or Sounds 'Sori(唱)' appeared in Musical Comedy performed in Korean Traditional Music and Changeable Aspects Thereof - Centering around Korean Musical Group, Taroo -)

  • 정혜원
    • 한국연극학
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    • 제49호
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    • pp.5-47
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    • 2013
  • Among the styles of performing arts, perhaps the genre that has attracted the largest audience would be musical. Popularity of musical has brought diverse changes in our performing arts market, and, upon emerging another musical genre, called 'Korean Traditional Musical Comedy,' it has been well-received by the audiences. 'Korean Traditional Musical Comedy' is a word that are formed by merging two other terms such as 'Korean Traditional Music' and 'Musical (Comedy).' In the meantime, however, it has yet some problems in order to be defined as the genre that has concrete concepts. It is because the term such as Korean Traditional Musical Comedy was created being closely associated with a marketing purpose rather than a term that defines the characteristics of a genre of performing arts. Although this new musical genre has drawn attentions of many audiences by adding 'Musical Comedy' to 'Korean Traditional Music' that was not quite popular to the public, it still does not have any established forms so that there is a fine line between "Korean Traditional Musical Comedy" and another genre like traditional style folk opera ("Changgeuk"). Looking at the characteristics of the musical work called 'Korean Traditional Musical Comedy, in general, first of all, it is a performance where music and drama are played. Here, the distinctive characteristic of this musical is that 'Korean Traditional Music' is sung. And the kinds of Korean traditional musics being sung are mainly Pansori (dramatic story-singing) and folk-songs, and, in most cases, Korean traditional musical instruments are being used as accompanying music. In this paper, the researcher investigated the aspects of experiment centering around Korean Musical Group, Taroo. These days, various experiments has been repeated not only for the works of Taroo but other musical work presently called 'Korean Traditional Musical Comedy' also. Having encompassed overall performance factors including use of musical instruments, dance, acting, materials for drama as well as music in drama, the researcher has gone through experiments repeatedly. Meanwhile, however, the subject matters that make 'Korean Traditional Musical Comedy' mostly attractive to the audiences are music and songs or sounds. ["Sori" also called "Chang" (唱)] Particularly, under the current situation of our musicals, the role of "Sori" is extremely important. The factor that plays absolutely most important role in acceptance and transformation of "Sori" is the created Pansori. Since the created Pansori is composed with new rhythmic patterns and new narrative poems, it tells the present story. Also it draws good responses from the audiences owing to easy conveyance of dialogues. And, its new style brings diversification to organization of musical instruments, so then this leads to the arrangements of music for Korean traditional music instruments, as well as instrumental music ensemble, orchestra, and jazz band, etc. Likewise, upon appearing creative musics in 'Korean Traditional Musical Comedy,' professional music and vocal compositions have begun to emerge naturally. And, the song specialist and writer, of course, staffs including direction, lighting, and sounds, etc are required. That is, professional composition method are forced to be introduced to all areas. Other than this, there are many music pieces which are based on our unique songs and sounds ("Sori") and such traditional factors as use of lead singer for ceremony or chorus, and the method that puts weight on Pansori. Accordingly many things accomplished. However, it is required that 'Korean Traditional Musical Comedy' go through numerous discussions and more experiments. Above all, the most important things are the role of actor and actress, and their changes, and training of actor and actress further. Good news is there are good audience responses. 'Korean Traditional Musical Comedy' is an open genre. As musicals are divided into several domains according to the characteristics thereof, 'Korean Traditional Musical Comedy' will be able to show its distinctive features in various styles according to embodiment.

Musical Aptitude as a Variable in the Assessment of Working Memory and Selective Attention Tasks

  • Nisha, Kavassery Venkateswaran;Neelamegarajan, Devi;Nayagam, Nishant N.;Winston, Jim Saroj;Anil, Sam Publius
    • 대한청각학회지
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    • 제25권4호
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    • pp.178-188
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    • 2021
  • Background and Objectives: The influence of musical aptitude on cognitive test performance in musicians is a long-debated research question. Evidence points to the low performance of nonmusicians in visual and auditory cognitive tasks (working memory and attention) compared with musicians. This cannot be generalized to all nonmusicians, as a sub-group in this population can have innate musical abilities even without any formal musical training. The present study aimed to study the effect of musical aptitude on the working memory and selective attention. Subjects and Methods: Three groups of 20 individuals each (a total of 60 participants), including trained-musicians, nonmusicians with good musical aptitude, and nonmusicians with low musical aptitude, participated in the present study. Cognitive-based visual (Flanker's selective attention test) and auditory (working memory tests: backward digit span and operation span) tests were administered. Results: MANOVA (followed by ANOVA) revealed a benefit of musicianship and musical aptitude on backward digit span and Flanker's reaction time (p<0.05). Discriminant function analyses showed that the groups could be effectively (accuracy, 80%) segregated based on the backward digit span and Flanker's selective attention test. Trained musicians and nonmusicians with good musical aptitude were distinguished as one cluster and nonmusicians with low musical aptitude formed another cluster, hinting the role of musical aptitude in working memory and selective attention. Conclusions: Nonmusicians with good musical aptitude can have enhanced working memory and selective attention skills like musicians. Hence, caution is required when these individuals are included as controls in cognitive-based visual and auditory experiments.

Musical Aptitude as a Variable in the Assessment of Working Memory and Selective Attention Tasks

  • Nisha, Kavassery Venkateswaran;Neelamegarajan, Devi;Nayagam, Nishant N.;Winston, Jim Saroj;Anil, Sam Publius
    • Journal of Audiology & Otology
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    • 제25권4호
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    • pp.178-188
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    • 2021
  • Background and Objectives: The influence of musical aptitude on cognitive test performance in musicians is a long-debated research question. Evidence points to the low performance of nonmusicians in visual and auditory cognitive tasks (working memory and attention) compared with musicians. This cannot be generalized to all nonmusicians, as a sub-group in this population can have innate musical abilities even without any formal musical training. The present study aimed to study the effect of musical aptitude on the working memory and selective attention. Subjects and Methods: Three groups of 20 individuals each (a total of 60 participants), including trained-musicians, nonmusicians with good musical aptitude, and nonmusicians with low musical aptitude, participated in the present study. Cognitive-based visual (Flanker's selective attention test) and auditory (working memory tests: backward digit span and operation span) tests were administered. Results: MANOVA (followed by ANOVA) revealed a benefit of musicianship and musical aptitude on backward digit span and Flanker's reaction time (p<0.05). Discriminant function analyses showed that the groups could be effectively (accuracy, 80%) segregated based on the backward digit span and Flanker's selective attention test. Trained musicians and nonmusicians with good musical aptitude were distinguished as one cluster and nonmusicians with low musical aptitude formed another cluster, hinting the role of musical aptitude in working memory and selective attention. Conclusions: Nonmusicians with good musical aptitude can have enhanced working memory and selective attention skills like musicians. Hence, caution is required when these individuals are included as controls in cognitive-based visual and auditory experiments.

Global Utopia and Local Anxiety on the Stage of the Korean Musical

  • Choi, Sung Hee
    • 비교문화연구
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    • 제36권
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    • pp.123-147
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    • 2014
  • The purpose of this essay is three-fold: to trace the genealogy of the Korean musical, which ever since its inception in the 1960s has been seeking to modernize Korean theater with Broadway as a constant role model; to investigate how the national and the global conflict and are conflated in the form of the Korean musical in the process of its (dis)identification with Broadway; and to examine how its intercultural translations reveal and reflect the dilemma and ambivalence posed by globalization in our era. Drawing on Richard Dyer's signature article Entertainment and Utopia, I analyze how the Korean musical manifests and conduits competing utopian impulses of Korean/Global audiences. I also attempt to problematize the formulaic notion of Broadway musicalsthe Superior Other!which implies a global hegemony that does not, in fact, exist because the boundary between the global and the local as well as the power dynamics of global culture are not fixed but constantly moving and changing. Today's musical scene in Korea shows interesting reversals from the 1990s, when Korean producers were eager to debut on Broadway and impress American audiences. Korean producers no longer look up to Broadway as a final destination; instead they want to make Seoul a new Broadway. They import Broadway musicals and turn them into Korean shows. The glamor of Broadway is no longer the main attraction of musicals in Korea. What young audiences look for most is the glamor of K-pop idols and utopian feelings of abundance, energy, intensity, transparency and community, which they can experience live in the musical with their favorite stars right in front of their eyes. In conclusion, I delve into the complex dynamics of recent Korean musicals with Thomas Friedman's theory of Globalization 3.0 as reference. The binary formula of Global/America versus Local/Korea cannot be applied to the dynamic and intercultural musical scene of today. Globalization is not a uniform phenomenon but rather a twofold (multifold) process of global domination and dissemination, in which the global and the local conflict and are conflated constantly. As this study tries to illuminate, the Korean musical has evolved in a huge net of interdependences between the global and the local with a range of sources, powers and influences.

SOM과 개선된 ART-1을 이용한 악보 인식 (Musical Score Recognition with SOM and Enhanced ART-1)

  • 김광백
    • 한국정보통신학회논문지
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    • 제17권5호
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    • pp.1064-1069
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    • 2013
  • 본 논문에서는 SOM과 개선된 ART-1을 이용하여 악보를 인식하는 방법을 제안한다. 악보 인식을 위해 스캔된 악보 이미지를 호프 변환, Otsu's 이진화를 원본 이미지에 적용하고, 히스토그램 분석을 통해 구분된 작은악절에서 오선을 제거하여 악보의 음표 성분을 추출할 수 있는 이미지 전처리 단계를 수행한다. 오선이 제거된 작은악절은 레이블링을 이용하여 음표 성분을 분리한다. 추출된 음표들은 SOM 알고리즘을 적용하여 일정한 크기로 정규화하고, 정규화된 음표 정보들을 개선된 ART-I 알고리즘을 적용하여 학습과 인식한다. 제안된 방법을 적용하여 음표 인식 실험을 한 결과, 제안된 방법이 음표 인식에 효율적임을 확인하였다.

내러티브 프로세스 분류 모델 기반 애니메이션 OST의 음악적 요소 분석 (Animation OST Musical Element Analysis based on A Narrative Process Classification Model)

  • 장소은;성봉선;이장훈;김재호
    • 한국멀티미디어학회논문지
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    • 제17권10호
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    • pp.1239-1252
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    • 2014
  • The OST (Original Sound Track) in the film plays a vital role in increasing consensus and concentration to the storyline. The selected 4 animations are classified into 17 Narrative Processes (NP) by using NP Classification Model [1]. For the NPs each having OSTs, the authors have investigated 6 kinds of objective musical elements of the OST such as sound (speech, music, effect), tonality, tempo, range, intensity, and instrumentation. It is found that there are 33.3% common musical elements among all of them for the NPs with OSTs commonly. Among them, it is also found that there are 71.9% of common properties of the musical element. This research is meaningful by firstly showing that there are common properties of objective musical elements in each NP and the corresponding OST.

바이올린 비브라토의 특성과 음악 요인과의 상관관계 연구 (The Study of a Correlation between Characteristics of Violin Vibrato and Musical Factors)

  • 최은규;성굉모;서우석
    • 한국음향학회지
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    • 제15권1호
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    • pp.5-9
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    • 1996
  • 비브라토는 소리의 여러 요소들의 주기적인 변화를 뜻하며, 음색의 독특한 효과를 불러일으키기 때문에 음악 연주에 있어서 중요한 역할을 해왔다. 그러나 지금까지 비브라토에 관해 이루어진 과학적인 연구 사례들을 살펴보면, 비브라토의 음향학적 분석에만 치중했을 뿐 실제 연주와 관련된 음악적 요인들과의 상관관계를 밝히지 못했다. 따라서 본 논문에서는 바이올린 비브라토를 음향학적으로 분석하고, 그 결과를 바탕으로 바이올린 연주와 관련된 여러가지 음악적 요인들과 관련시켜 그 상관관계를 밝히고자 시도했다.

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아시아의 중심, K-Musical의 역할과 가능성 (Center of Asia, The Role and Potential of K-Musical)

  • 이은혜
    • 한국엔터테인먼트산업학회논문지
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    • 제14권2호
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    • pp.73-84
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    • 2020
  • 한국의 뮤지컬 산업은 'K-Musical'이라는 새로운 명칭으로 브랜드화 되어 급성장하고 있다. K-Musical의 성장은 단기간에 이루어진 것이 아니라 한류 문화 콘텐츠가 성장됨에 따라 자연스럽게 형성되었다. 그 영향으로 한류의 바람이 한국의 뮤지컬에 불고 있으며 새로운 문화의 거점을 이루고 있다. 큰 성장세를 보였던 2012년 상반기에는 공연시장 상승규모 중 뮤지컬이 24% 상승되었고, 하반기에도 최소 20% 성장하여 2013년 3000억 원대에 진입하였다. 이는 신설된 뮤지컬 전용 공연장에서 좋은 성과를 이루었고 창작 뮤지컬의 성공에서 기인한 것으로 국내 뮤지컬 작품을 해외에 수출하는 기반이 되었다. 나아가 2018년 집계된 국내 뮤지컬 판매액은 2571억 원을 기록하여 전년에 비해 29%로 대폭 상승한 것을 알 수 있다. 한국의 뮤지컬 시장을 아시아로 확대하고 아시아 뮤지컬 산업의 중심이 될 수 있는 전략적 접근이 필요한 중요한 시기라고 할 수 있다. 이에 K-Musical 산업의 지속적인 성장을 위해 일본과 중국의 현황을 파악 하고 대비하는 것도 중요하다. 본 연구를 통해 아시아의 중심으로써 한국의 뮤지컬 산업이 지속적으로 뮤지컬 산업을 이끌어나갈 수 있는 전략과 방안을 제시해 보고자 하였다. 이를 통해 한국의 뮤지컬 콘텐츠 산업이 아시아 뮤지컬 산업과 함께 공존하고 발전하여 한시적이 아닌 지속적인 산업이 될 수 있기를 기대한다.

뮤지컬 의상 제작의 실제와 의상 디자이너의 역할 - 국내 중소형 창작 뮤지컬 사례분석을 중심으로 - (The Practice of Musical Stage Costume Production and the Role of the Stage Costume Designer - Focused on Case Studies of Domestic Small- and Medium-Sized Original Musical Productions -)

  • 박내리;이금희
    • 복식문화연구
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    • 제20권1호
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    • pp.18-35
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    • 2012
  • The purpose of this study is to offer a holistic description of the role demanded of costume designers to provide qualitative improvement of costume designs for small- and medium-sized musicals. The study accomplishes this by analyzing the relationship between the play and costume design in musicals and also by examining the process and environments in which costumes of small-sized theater companies' original musicals are produced. The methods of study are empirical research of literature related to dress, stage art, and culture & arts from both domestic and foreign publications; research of visual materials related to plays; and production and analysis of theatrical performances in which the researcher has participated as a costume designer. The results of the study are as follows. First, professionalism of the play and visual perfection of the work may be enhanced by costume designers actively participating in meetings with staff from each field of the play. Second, by taking advantage of the unique aspects of the work environment of small-sized theater companies' small- and medium-sized original musicals, such as harsh situations of regular and periodical meetings with all staff member, the designer may consider the director's intentions and concepts of the play, but should display more creative and autonomous design abilities. Third, because the costume designers of small- and medium-sized original musical plays are given a small budget and short production periods, the ability to systematically manage budget and production periods and the ability to flexibly handle unexpected incidents during the play is essential.