• Cross-Cultural Studies
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• v.44
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• pp.315-342
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• 2016

There exists a general misunderstanding of the Musical as being both a dramatic genre and a musical genre. This misunderstanding lies in the fact that music fills the role of the drama. In other words, there exist a series of narrative episodes that help the development of the drama and music generates the ambience that corresponds to each episode. In this case, music is subordinated to the drama and thus becomes secondary. However, this paper seeks to show that in the Musical, musical composition is so strongly linked to the development of the drama that it is through the musical development that the drama unfolds. This paper seeks to explore this view through one of the most successful musicals of our time, Les $Mis{\acute{e}}rables$. A musical adapted from a novel is not the retrenchment of a series of episodes from the original novel. The process of dramatizing the novel compels the musical creators to observe what to draw out as a dramatic action. The interesting points of a musical consist of how the musical creator has reflected his understanding of the fiction through the composition of the music. This is why this paper has created a table analyzing the forty musical compositions in Les $Mis{\acute{e}}rables$. This table is meant to visualize the musical motifs employed in this play in order to explain the relationship between the musical composition and the development of the drama. The theme of Les $Mis{\acute{e}}rables$ lies in the transformation of Jean Valjean. His change includes the process of transformation from a thief to finding Jesus and his denial of being a sinner to his confessions of sinning. This paper explores the transformation of the dramatic action of Jean Valjean, which is symbolized by such themes as Misery, Love and Name established in musical form. The dramatic conflict between Jean Valjean and Javert as well as between Jean Valjean and $Th{\acute{e}}nardier$ is also explored through the composition of music. The success of Les $Mis{\acute{e}}rables$ lies in its successful constitution of music that embodies the in depth interpretation of the original play.

• Journal of Music and Human Behavior
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• v.7 no.1
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• pp.37-59
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• 2010

The purpose of this study was to examine how a creative musical play program affected peer relational skills of children in a community child center. The creative musical play program was implemented with six children in K Community Child Center for twenty (20) sessions. To investigate quantitative change, the Peer Relational Skills Scale and the Revised Social Skills Scale (for teachers) were filled out by children and teachers before and after the program. Also, to investigate musical and behavior changes related with peer relational skills in the creative musical program, the responses of children were categorized from the data of the children's responses according to previously identified sub-factors of peer relational skills. The results show that the participants' average scores presented an improvement in peer relational skills. Qualitative analysis of session logs presented that negative factors which had appeared in early sessions changed to positive traits as the sessions went on. In conclusion, the creative musical play program was effective in increasing peer relational skills of children in the community child center.

• Korean Institute of Interior Design Journal
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• v.25 no.5
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• pp.42-54
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• 2016

The purpose of this study is to provide a reference for stage planning by analyzing current state of major theaters' stage space and understanding feedback from directors belonged to theaters. Each room in total 18 theaters' stage facilities was measured and their usage and requirements were analyzed on the spot. In addition, each director provided their experiential knowledge about appropriate stage composition for musical performance. The findings are as follow: under stage machinery is not needed for musical. Tour teams prefer to use their own show-deck for set conversion. On the other hand, over stage flying system needs to be able to deal with dense, fast, and accurate scene change. The size and location of the motor room needs to be carefully considered. The number of set battens is directly linked up with the size of the motor room, which should be located lower than the gridiron. As stage sets get bigger and complicated, the number of works at the gridiron is also increasing. The grating floor has to have enough strength coping with machines lifting heavy sets. Most sound control for musical performance is being done at F.O.H. these days rather that in the sound control room. It should equip enough work area and related infra especially for tour teams. 1st gallery needs to have enough effective width, power infra for lighting fixture, and strong guardrail. Lastly, the whole process of parking-unloading-transporting equipments and sets from loading dock to stage and vice versa needs to be efficient, and this has to be carefully considered from early stage of planning.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.638-645
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• 2018

'42nd Broadway' is one of the most authentic, genuine and renowned musical pieces among the numerous musicals. By approaching every element in the Backstage from the perspective of an actor who is apart of the show, not a professional photographer, rather than an the usual objects on the Front Stage which is imprinted in the minds of the ordinary people through the media or the numerous flyers sent from the theaters, intented to describe the life as it is in the Back Stage by examining various elements such as the sets or make-up rooms, rather than the momentary, technically staged imageries. In the industrial aspect as well, the implication of this documentary would be that a more realistic set of photography was provided instead of the existing ones that usually focused on the'staged,' or 'guarded' images of the musical as shown in the promotional materials or the Front Stage still cuts.

• Journal of KIISE:Software and Applications
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• v.35 no.11
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• pp.692-700
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• 2008

In some previous works on musical genre classification, human experts specify segments of a song for extracting musical features. Although this approach might contribute to performance enhancement, it requires manual intervention and thus can not be easily applied to new incoming songs. To extract musical features without the manual intervention, most of recent researches on music genre classification extract features from a pre-determined part of a song (for example, 30 seconds after initial 30 seconds), which may cause loss of accuracy. In this paper, in order to alleviate the accuracy problem, we propose a new method, which extracts features from representative segments (or main theme part) identified by structure analysis of music piece. The proposed method detects segments with repeated melody in a song and selects representative ones among them by considering their positions and energies. Experimental results show that the proposed method significantly improve the accuracy compared to the approach using a pre-determined part.

• Journal of Broadcast Engineering
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• v.26 no.7
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• pp.838-843
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• 2021

This paper presents an algorithm for effective retrieval of score information to an input score image. The originality of the proposed algorithm is that it is designed to be robust to recognition errors by an OMR (Optical Music Recognition), while existing methods such as pitch histogram requires error induced OMR result be corrected before retrieval process. This approach helps people to retrieve score without training on music score for error correction. OMR takes a score image as input, recognizes musical symbols, and produces structural symbolic notation of the score as output, for example, in MusicXML format. Among the musical symbols on a score, it is observed that filled noteheads are rarely detected with errors with its simple black filled round shape for OMR processing. Barlines that separate measures also strong to OMR errors with its long uniform length vertical line characteristic. The proposed algorithm consists of a descriptor for a score and a similarity measure between a query score and a reference score. The descriptor is based on note-count, the number of filled noteheads in a measure. Each part of a score is represented by a sequence of note-count numbers. The descriptor is an n-gram sequence of the note-count sequence. Simulation results show that the proposed algorithm works successfully to a certain degree in score image-based retrieval for an erroneous OMR output.

• The KIPS Transactions:PartB
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• v.17B no.4
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• pp.263-274
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• 2010

To provide context-aware music recommendation service, first of all, we need to catch music mood that a user prefers depending on his situation or context. Among various music characteristics, music mood has a close relation with people‘s emotion. Based on this relationship, some researchers have studied on music mood detection, where they manually select a representative segment of music and classify its mood. Although such approaches show good performance on music mood classification, it's difficult to apply them to new music due to the manual intervention. Moreover, it is more difficult to detect music mood because the mood usually varies with time. To cope with these problems, this paper presents an automatic method to classify the music mood. First, a whole music is segmented into several groups that have similar characteristics by structural information. Then, the mood of each segments is detected, where each individual's preference on mood is modelled by regression based on Thayer's two-dimensional mood model. Experimental results show that the proposed method achieves 80% or higher accuracy.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.219-227
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• 2019

In this paper, we proactively looked at the structure and characteristics of each instrument in order to compare and analyze the sound colors of the western violin, chinese erhu and korean haegeum, which are representative bow string instruments. Also, many performers have simply been unable to fully explain how the violin is rich in pitch and the haegeum has a unique tone. Also, many performers thinks that violin sounds rich just because it has many overtones and have been unable to fully explain how haegeum makes unique tone. While previous research data show that most instruments are studied and published by analyzing their own frequencies or related cases of acoustic studies, this study provides a visual look how the harmonics composition, which determines musical instruments' timbres, consists of and suggests data specifically by analyzing each sound pressure of integer multiple overtones so that the structure of instruments' unique timbre can be understood. Based on this, we hope that it will be of considerable help to the development of virtual musical instruments of korean traditional instruments, which are relatively small compared to western virtual instruments, by reproducing instrument sounds through the synthesizers in the future.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.87-95
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• 2013

"Gone with the wind"(1939, Directed by Victor Fleming) was produced in the stylistic conventions of the classical hollywood cinema, and thus the musical employment also followed the norms of the style, such as late Romantic musical style, serving the narrative, signifier of emotion, and giving continuity and unity. But, at the same time, the statement of the classical theory that the music hides and tailors itself to support the drama - invisibility, inaudibility, narrative cuing and so on - does not seem to explain the musical employment of "Gone with the wind." On the contrary, it hires music to put itself forward, and often times it stops the narrative to show musical spectacles for which the image is tailored to fit the music. These are more of music theatre or music drama features rather than the conventional underscore of the films in that period. In this study analysed the musical employment of "Gone with the wind" to see how it took full advantage of music to lead the narrative in a more active way and to make musical spectacles, by borrowing the technique and style of music theatre, such as, overture and entr'acte, similarities with film musicals, Wagnerism influence, and the use of songs.

• Proceedings of the Korean Information Science Society Conference
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• 2007.10c
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• pp.263-266
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• 2007

We introduce a vision-based hand gesture recognition fer understanding musical time and patterns without extra special devices. We suggest a simple and reliable vision-based hand gesture recognition having two features First, the motion-direction code is proposed, which is a quantized code for motion directions. Second, the conducting feature point (CFP) where the point of sudden motion changes is also proposed. The proposed hand gesture recognition system extracts the human hand region by segmenting the depth information generated by stereo matching of image sequences. And then, it follows the motion of the center of the gravity(COG) of the extracted hand region and generates the gesture features such as CFP and the direction-code finally, we obtain the current timing pattern of beat and tempo of the playing music. The experimental results on the test data set show that the musical time pattern and tempo recognition rate is over 86.42% for the motion histogram matching, and 79.75% fer the CFP tracking only.