• Journal of Fashion Business
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• v.5 no.1
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• pp.53-71
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• 2001

The purpose of this study how 'Afro-American resistance' is showed up in the fashion trough the study of rapper's fashion present in singing rap music. Rap music produced by the influence of black music. It have been the tool of expression of pain and sorrow of their lives and included their resistant spirit. So rapper's fashion expressed resistance. at this point I categorized the resistant feature of rapper's fashion at two types in terms of the extent of expression. Their are active resistance fashion and passive resistance fashion. Also each fashion types was classified in terms of style, material, color, accessories and so forth. Active fashion is possible to classify these three styles as follows. The first one is Afrocentic style that was raised from longing for Africa. The second one is Military style which contains an ling-time enduring spirit of resistance against the society. The last one is Hiphop style that violated the typical rule of dressing under the hiphop style culture. these kinds of active resistance are also classified as material like blue Jean showing black workers' resistance, color like black showing off superiority of 'black' and red, gold and green color expressing black people's resistance, and other accessories like chains, cross and so on. Passive resistance fashion has several variations according to the style. There are Jazz style, Uniform style and Hiphop style. It is also categorized as high-tech materials, white color which is the expression of desire for white and luxurious accessories showing off wealth.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2002.05a
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• pp.314-319
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• 2002

To inspect how the different sensitivities in BAS (or BIS) moderate on the HRV pattern stimulated by positive or negative affective sound, we measured the electrocardiogram (ECG) of 25 students, consisted of 4 groups depending on the BAS (or BIS) sensitivity, while listening music or being exposed to noise. The power spectral density of HRV was derived from the ECG, and the power of HRV was calculated for 3 major frequency ranges (low frequency [LF], medium frequency [MF], and high frequency [HF]). We found that the index MF/(LF+HF), while listening music, was 20 % higher in the individuals with a low BIS but high BAS than in the individuals with a low sensitivity In both BIS and BAS. Moreover, in the former group this index was 30 % higher while listening music than while being exposed to noise. From these results we suggest that individuals with a low BIS but high BAS be more sensitive to positive affective stimuli than other groups, and the index MF/(LF+HF) be applicable to evaluate positive affects.

• Journal of Fashion Business
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• v.11 no.4
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• pp.183-203
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• 2007

This study aims at providing useful fundamental information to re-establish the theories of modern fashion by examining the origination and genealogy of street style. The street styles focusing on caucasoid have a variety of genealogies such as western type, beat, teddy boy, hippie, skinhead, punk, neuron-mantic, indie kid, riot grrrl, grunge and techno cyber punk. In the same period, on the contrary, the streets styles focusing on negroid are zootie, hipster, modernist, rude boy, two-tone, rastafarian, funky, B-boy, fly girl, raggamuffine, bhangra, and acid jazz, which are seen as the culture of the large cities formed along Atlantic Ocean and Caribbean sea like England, America and Jamaica. These have root as the main fashion in western society. Ironically, most of the subculture concentrated on the whites were racists. Because of such a reason, the street styles have been formed as resistance culture that was unable to sympathize with their society and characteristics by distinguishing the whites and the colored people. Zootie or hipster that is one of the street fashion styles was formed in the 1940-50s, while the colored people who lived in the west Indies migrated to England or America. As a minimal modernist style called Ivy look in US, in that time, anti-culture formed by teenagers in whitey, teddy boy and mods fashion can be strictly different from the zootie and hipster. The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, the street styles of the whites were mostly the skinhead or hippie. Most of them were racists toward the colored people. The punk type on shown on the whites focused on luxury and exaggerative costume. On the contrary, the funky style of the colored people focused on aggressive nihilism and form. With B-boy, fly girl, reggae, rap music, and break dancing in the 1980s, the subculture gradually told on the high fashion as well as the culture between the whites and the colored people. From such aspects, the colored people tried to maintain their unique traditional characteristics. However, their individual values surged by the coming young generation excluded the colored people's characteristic street styles. Focusing on gender, violence and private success among their major concerns, the raga muffin style that represents multi-races and multi-cultures was formed. The jazz style in the 1990s showed cold post-modernistic eclecticism different from that of the 1940s-50s. Simultaneously, the various classes appeared their street styles by emphasizing on each personality. Now that we are living in multi-cultural society, a human race or nationalism concept is getting obscurer. There is no obvious boundary line in the differences between human race and its fashion.

• Journal of Music and Human Behavior
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• v.9 no.1
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• pp.21-36
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• 2012

The purpose of this study was to examine perceived supervisory satisfaction depending on the type of supervision. Twenty-six music therapy graduate students who enrolled in a practicum course participated in this study. All participants received four individual and four group supervision sessions over the course of the semester. After each supervision session, participants were asked to rate their satisfaction with supervision on the Supervisory Satisfactory Questionnaire(SSQ). Results showed that there was no significant difference in the mean ratings between individual and group supervision conditions, indicating that the type of supervision would not differently affect the perception of overall supervisory satisfaction. However, a detailed analysis of ratings for each questionnaire item and comments from the participants imply that while individual supervision would be perceived to meet supervisees' individual needs more effectively, satisfaction with group supervision would be less influenced by supervisor styles. This study would provide descriptive information of perceived satisfaction with supervision type as an initial trial toward suggesting the systematic approach to the music therapy supervision format. Further studies are needed to investigate how effective and culturally responsive supervision format would be structured to facilitate supervision process and maximize supervision outcome.

• Phonetics and Speech Sciences
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• v.16 no.2
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• pp.59-69
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• 2024

Due to differences in singing styles and voice production between classical and popular music singers, their knowledge and practice regarding vocal hygiene may differ. This study compared the knowledge and practice of vocal hygiene among 121 university undergraduate students (58 classical and 63 popular music vocal majors). Additionally, the correlation between the level of knowledge and practice of vocal hygiene and the subjective voice evaluation was examined. The results revealed that both knowledge and practice of vocal hygiene were significantly higher in classical than popular music vocal majors, and that vocal hygiene practice was significantly higher than knowledge in the entire group. In addition, there was a weak positive correlation between knowledge and practice of vocal hygiene; and a weak negative correlation between vocal hygiene practice and subjective voice evaluation. This study suggests that popular music vocal majors have relatively lower levels of knowledge and practice in vocal hygiene than classical music vocal majors. It also highlights the need to provide tailored vocal hygiene education programs for both classical and popular music vocal majors, as they show low levels of knowledge and practice in certain aspects of vocal hygiene.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.155-170
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• 2008

Club culture is the global trend for youth in 21st century. Club is the space that is created with close relationship among music, dance and fashion. It is also experimental cultural art space with endlessly transforming style. Furthermore it is a space for independent minor culture which represents speciality than generality of cultural appetite and style of club. Cultural communities formed around club and their parties have placed as a strong subculture trend based on youth age group. What they are creating as a subculture could be our tomorrow's main trend and clubbers also could be our major power sources for future. Therefore it is necessary to pay attention to club culture. The purposes of this research are to identify the concept of clubber, to analyzes their basic club culture characteristics and elements, and to find out unique fashion styles of Korean clubber in comparison with the origin. To study club fashion style's origin and background, this study searched a theoretical flow from 1930's to 1990's. Then, Korean clubber's style is derived by comparing background and origin of Korean club culture with those of abroad. To analyze in various point of view, theoretical backgrounds about social, cultural, dresses, and design were considered. Since research target is a visual image, street fashion is analyzed on through, music channels and magazines from 1930's to present as well as designer's art photographies. Internet sites', cub culture association's and sound association's photos were also extracted. as a visual evidences to offer actual evidences. Geological targets are selected among Korean club culture's origin such as Hong-Ik University area, Shin-chon, Chungdam-dong and Apgujung-dong areas. The results of this study are as follows. Firstly, clubber's fashion style influenced magnificently on major fashion design instead of being just youngster's resistance toward control group and it is contributing to our fashion culture to enrich it. Secondly, fashion styles of korean clubbers are based on those of western sub-culture, but with a unique localized history.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.9
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• pp.310-320
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• 2020

BTS has established itself as a leading Korean popular music group in the global mainstream music market. In addition, BTS's fashion style is receiving so much attention that it is featured in the social networks of foreign media and the public. The purpose of this study considers BTS' fashion trends based on the analysis of their fashion styles. The methods and scope of this study have been combined with theoretical studies related to the fashion impact of BTS and BTS, as well as content analysis studies based on the image of BTS over the last five years. The results of this study are as follows. First, it was found that they pursue classic and modern styles through suits that emphasize straight silhouettes, the use of achromatic colors, and simplified decorations. Second, it has been shown that BTS prefers a casual style of free-spirited and comfortable sensibility by matching a jacket with a round shoulder line, toned-down skinny jeans, hood T-shirts, lettering patterns, and vivid colors. Third, BTS pursues a dynamic and active sporty style by utilizing the sleeveless basketball shirts, round neckline baseball shirts and shorts, training pants, and overfit sweatshirts with an emphasis on lettering patterns.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.14-28
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• 2013

This study attempts to systematically analyze a red carpet style. I have researched the Academy Awards called representative film awards which symbolizes international fame and the Grammy Awards which is the most prestigious award in the music industry by subdividing into formative elements such as silhouette, color, fabric, pattern, detail, accessory, fashion image, and so on from 2000 to 2012. Firstly, when it comes to silhouette, mermaid silhouette accounts for the highest proportion in the Academy Awards. Compared to this, fit silhouette is shown almost the same percentage as the mermaid silhouette in the Grammy Awards. Secondly, with regard to color, black color has not only the highest percentage but also examples of different unit forms such as various color, showy gradation and single colors. Various colors in the Grammy Awards have similar percentage in comparison with the Academy Awards. Thirdly, in terms of fabric, silky material is often used most, which looks like putting more weight on dresses for the formative elements of clothes. Fourthly, in pattern, patternless dresses are represented by high percentage at both the Academy Awards and Grammy Awards. Dresses with patterns have mild, stylistic elements and geometric designs. The Grammy Awards shows many different unique patterns, color and size, compared to the Academy Awards. Fifthly, in detail, frill and ruffle ornaments are shown most at the Academy Awards and Grammy Awards. Especially in the Grammy Awards, beads ornaments are used most. Sixthly, in accessory, there are many accessories of graceful, elegance styles in the Academy Awards. On the contrary to this, there are many accessories to effect on many performances of large, fancy, unique styles. Seventhly, elegance images of a goddess style among fashion images emerge as fashion of the Academy Awards. In spite of romantic styles in the Grammy Awards, many various images are the same rate as there, which means different appearance of experiment and sensational styles.

• Journal of Fashion Business
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• v.25 no.5
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• pp.1-24
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• 2021

This study aimed to explore the fashion design and style features, and differences in BLACKPINK, TWICE, and Red Velvet girl groups. A total of 469 fashion photos (132 BLACKPINK, 217 TWICE, 120 Red Velvet) focusing on 23 title songs (7 BLACKPINK, 9 TWICE, 7 Red Velvet) were collected. Photo classification work was carried out in accordance with the design analysis criteria and the results were derived by combining statistical analysis and content analysis. BLACKPINK's fashion design characteristics showed a lot of complex colors, shade tone, pure tone, contrast color coordination, stylistic pattern, slit, patchwork, checklist method, sexy and avant-garde images. TWICE's fashion design characteristics included warm color, complex color, tint tone, monotone, contrast color coordination, tone-on-tone, geometric & stylistic patterns, cotton, silk, a combination of the same material, frill, beads, ribbon decoration, blouse, skirt, and many romantic and ethnic images. Red Velvet's fashion design characteristics were a cold color, moderate tone, monotone, cotton, velvet, geometric pattern, zipper, sequins, T-shirt, pants, tie, belt, and many retro and active images. The fashion styles of BLACKPINK, TWICE, and Red Velvet were as follows. BLACKPINK was divided into sexy avant-garde, sexy active, sexy romantic styles. TWICE was divided into romantic active, romantic classical, and romantic ethnic styles. Red Velvet was divided into retro active, retro sexy, and retro avant-garde styles.

• The Korean Fashion and Textile Research Journal
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• v.24 no.5
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• pp.493-504
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• 2022

This study aims to gain a deeper understanding of the fashion styles of underground rappers in China and South Korea. Due to rappers' fashion influence on modern fashion trends, research on rapper fashion has been conducted steadily in the field of apparel. Qualitative research methodologies including literature research and in-depth interviews were the primary techniques used to solve the research questions. In-depth interviews were conducted with 10 Chinese underground rappers and 10 Korean underground rappers to reveal and explore their fashion style and view of fashion. As a result, the participants' fashion styles were categorized into four styles: authentic hip-hop fashion style, popularized hip-hop fashion style, easy sports casual style, and trendy street style. Rappers from both countries consider that their identity as rappers can be demonstrated through their hip-hop fashion style. The influence of hip-hop culture and the popularity of rap music differs between China and Korea. It affects not only the rapper's musical characteristics, but also their fashion style. While Korean underground rappers' fashions style is trendier, Chinese underground rappers' fashions style displays stronger characteristics of hip-hop fashion. Due to the public's negative view of rappers, some Korean underground rappers intentionally try to hide their identity by wearing a fashion style that differs from the authentic rapper image. Understanding the fashion styles of underground rappers in Korea and China is expected to assist in predicting future hip-hop culture and rapper fashion trends.