This paper studied the drag queen makeup of ‘Hedwig’, the main character of the movie 『Hedwig』, and the drag queen makeup of Lee Hee-moon. The study began from the point that Lee Hee-moon's Korean drag queen outfit was shown in various domestic TV programs and performances. The purpose of this study was to analyze the differences between Lee Hee-moon's drag queen makeup and the drag queen makeup of Hedwig. As a research method, it summarized the types and characteristics of all drag queen costumes worn in the scene where Hedwig performed in the movie 『Hedwig』 and analyzed the drag queen costume of Lee Hee-moon, who is active in domestic TV, YouTube (YouTube) channels, and live performances. The preceding research papers of this study mainly focused on drag queen's gender identity analysis and Hedwig's performance costume analysis. In this paper, it focused on the use of drag queen makeup as an entertainment element rather than Hedwig's gender performance. Lee Hee-moon's drag queen makeup was analyzed focusing on the to which he belonged. It referred to his new performances after the disbandment of . A comparative study on Lee Hee-moon's drag queen makeup was conducted mainly with the contents of his interview and what he said in his radio or TV appearances. The result of the study shows that Lee Hee-moon's drag queen makeup appeared in various art genres, broadcasting, and media using entertainment elements and it is predicted that various art genres could be used as entertainment elements and tried in media and performances in the future.

The production of various CCM video contents are increasing since Youtube officially launched in South Korea. Currently, the video production of CCM-related contents has become an essential element for the growth of the domestic CCM culture. However, there are no studies related to this. It was thought that discussions on related research should be actively conducted to support such sustainable development. Thus, this study is intended to help understand production of CCM video contents through YouTube and its impact on domestic CCM culture. The study primarily analyzed channels that were established starting from 2010 thus selecting 「J-US Ministry」, 「WELOVE CREATIVE TEAM」, and 「Isaiah 6tyOn e」. From each channel, the characteristics of domestic CCM-related video contents were understood and analyzed. First, the characteristics of the online content were primarily used. Content was produced using themes and shooting techniques beyond the constraints of time and space. Contrasted to previous familiar settings, it was found that the content used more diverse settings. There were also new attempts in stage directing and performance methods. Second, lyrics were expressed differently. The lyrics honed in on concepts that introduced commonly used words such as, ‘empathy’, and more abstract words and combination of words such as, ‘time’ and ‘breakthrough’. Third, there was a musical attempt that went beyond the existing norm. It was analyzed that a leap of fifth or wider interval was used to go beyond the general characteristics of worship music, and the mood (atmosphere) of the music was expressed by utilizing a rather high note of treble G#. This study has limitations in that it only dealt with a narrow pool of domestic CCM-related contents from YouTube. Thus, further related studies are expected.

The study on the elements of music stage space in musicals has in particular significant implications as comprehensive theatrical art combined with various fields including music. This paper classified special characteristics between stage design in terms of visual, spat ial and objet’s points by the scenes of remarkable numbers of 『Notre Dame de Paris』 and analyzed how the stage design and music has heightened the effect interactively. In additio n to this, it has been investigated how the music and space expression described and charact erized effectively in harmony. Consequentially, the stage of 『Notre Dame de Paris』 is sym bolized with the simplicity of designs without emptiness using visual and spatial elements and objet appropriately. From the musical point of view, the numbers of 『Notre Dame de Pari s』 played a role in giving a plot and depicting character’s conflict including symbolic son gs. In stage design, there are dramatic changes of stage with configurations of huge objet and structural symbol so that the different background and situation has meaningful polysem ous functions in space and time. These kind of designs of stage in 『Notre Dame de Paris』 are contemporary approach to express restrained symbolism in space of theater. The music with lyric melodies and dynamic rhythms in 『Notre Dame de Paris』 also convey the literary narrative of the spectacle French musical.

The musical 『Seopyeonje』 used as a main material of Korean antique melodies with the convergence and the main characters of this musical are Songha, Yoobong and Dongho who had been tried to find their own music through popular music and the traditional songs, Pansori. This paper investigated and analyzed the many types of convergence in style, structure and melody with the elements of music based on Changkuk and music theory of Korean traditional melodies through the main numbers of the musical 『Seopyeonje』. As a result, there are some high artistic values of structure, style and melody in the musical 『Seopyeonje』 by considering effectively the convergence of musical genres and ensembles of instruments and vocals. Firstly, from a structural point of view, the main three characters played two different music roles in Pansori’s melodies and the popular music performance as a production number, respectively. This structural convergence makes the audience to immerse themselves in the musical dramatically. Secondly, the most distinctive factors are the performance of Pansori enclosed in harmonic progressions of popular music and the pentatonic melody changed into tonal melody. Lastly, the remarkable numbers of musical 『Seopyeonje』 have included the same interval structure of Bonchung and Hachung which are the Korean traditional theory even though the melodies of numbers in the musical are not based on the pentatonic scale. There are some limitations in implementing several convergence methods by analyzing the musical 『Seopyeonje』. We suggest a better future research on many musicals by applying several convergence methods.

This paper, a study on how to use anomalous rhythm in vocals. The purpose of this study is to suggest a method so that musicians, such as composers, lyricists, arrangers,producers, and vocalists, who make songs that include songs can utilize more diverse and original vocal rhythms. The research method is to compare the melodies and scat of anomalous rhythms used in the album and live performances of representative fusion jazz vocalist Al Jarreau, and compare the structure of the music beat and the modified beat derived from the structural point of view of grouping at a glance. made it recognizable. As a result of the study, , and were performed in 4 A grouping structure that combines the lengths of quarter notes and 8th notes was used, and uses a grouping structure that combines the lengths of quarter note and 16th note for vocals. It was derived that unique songs and scat were created by applying anomalous grouping to the rhythm played by all instruments except for four beats per word.

The current study aims to examine the effectiveness of central control in the recovery and growth of vocal competencies through efficient vocal training of musical actors. Musica l actors cannot be free from neck strain while they play musical songs that require a wide range of vocal ranges and intense vocals. Based on the theoretical support of the Alexander Technique's primary control that neck-head-body coordination is significant not only for breathing but also for the operation of efficient vocal organs, the dynamic principles were applied to vocalization and the effectiveness was assessed by interviewing 10 university students majoring in musicals and analyzing voiceprint. The results are as follows: Signifi cant changes when the central control was restored were experienced first, as the head came to mind, the pressed larynx, stuffy breathing, and the sense of length, width, and depth of the pressed torso were restored. Second, during voice scale, the movement of the larynx became smooth and expanded, and the vocal range expanded. Third, during Hands-On on the back of the neck, the clearness and resonance of the tone were improved, and the sense of vibrati on was strengthened with a higher effort in the head. In addition, the stability and vibrati on of the body were strengthened, and the stability of pitch and resonance was also experien ced. The results of the study suggest the effectiveness of the Alexander Technique in vocal training as well as proposing basic data for more advanced vocal training programs in the future.

The purpose of this study is to present an anomalous rhythm grouping structure by analyzing the rhythm grouping of scat used by Mark Murphy so that vocalists using scat can utilize various rhythms. In an interview with Kathryn Irene Reid, Jazz vocalist Mark Murphy said that the instrumentalist who had the greatest influence on his improvisation style was Miles Davis. and He said he listens to many jazz musicians, including Lester Young and Billie Holiday, to develop and train his musical style. In this way, Murphy has devised his own individual ways to extend music based on the bebop tradition, Murphy's solos use interesting melodic ideas and different chord tones and extensions to balance them out and creating his own unique scat syllables and creative rhythm patterns. In order to analyze from the point of view of grouping, the research method was centered on the anomalously expressed unique rhythm among the rhythms used in Murphy's studio album and live performance album, and the anomalous rhythm grouping structure applied to the analyzed song was presented. Murphy's scat rhythm deviates from the basic beat of the song, and the anomalous grouping structure with a length of two eighth notes, the length of one beat plus two of the eighth note triplets, and patterns of 6 beats and 5 beats is applied as a continuous repeating pattern, resulting in a unique rhythmic structure.

The purpose of this study is to analyze the musical characteristics of Starbucks' background music, which is considered one of the most successful examples of emotional marketing, to reveal musical factors that have a positive effect on customers and to find out the trend change of background music used in a shop through differences from existing studies. For the analysis, the researcher visited the Starbucks store and collected 91 songs to be used as samples, and based on previous studies, musical elements such as tonality, tempo, genre, instrumentation, lyrics, and release year were set up as analysis items. Based on analysis of each item, playlist created by Starbucks had a high proportion of the latest pop song which is in tonal ambiguity and faster than medium tempo and a music with and lyrics. These results are contrary to the existing background music theory, which is known to have a positive effect on customers, such as major, slow tempo, and lyricsless music. They are also different from previous studies on Starbucks background music, which mainly consists of old pop song and jazz music. Therefore, it was seen that there had been a change in background music of Starbucks' store, which is believed to reflect the purpose of customers' store visits, age groups, and musical tastes due to a shift in generations. This study is meaningful because it is the first attempt to specifically analyze the characteristics of Starbucks' background music through various musical elements and examine changes in the trend of background music based on this. The musical elements used in the analysis will also present a new theoretical standard for background music research.

This thesis analyzes the factors that affect the dew groove of the baro guitar, and studies with the purpose of enabling the expression of various duties with performers, arrangers, and mechanical players who practice more quickly. The research method is the length, accent, timing, harmony and line, diction, decibel, charge, pitch, factors that can affect periodic grooves and can be played, such as continuous change in tone, Second, current was passed through the experimental groups that produced samples of field change of sound, accent change of practice sound, turn change of net-sup sound, length change of sound over time, and change of sound decibel repeatedly, and then the change of the most groove was called. It was done in a way to select one number. As a result of the study, among the factors most influencing the change of the groove, the meaningful results were change in the length of the note (35.2%), change in the accent of the note (19.3%), change in the turn of the note (17%), and note of the note. Interested in and exploring change (13.6%) increased the change of due groove from note length change to devil by 54% of instrumental music majors directly taught in academia. In other words, the length of the note is the most important factor in expressing the rhythm groove of the bass guitar, and if this element is used well, it can bring good results to the performance, arrangement, and production of the bass guitar. This study has a limitation of not providing samples that combine various genres, styles, and complex elements, and it is predicted and suggested that if complex experiments are conducted in subsequent studies, it will be possible to derive changes in grooves according to many musical environments.

Celtic music is folk music of the Celtic as ancestor in Ireland with characteristics and exotic sound has adopted popular materials of culture including lyric and romantic melodie s. This paper analyzed the first movement, and the last movement, in 《Celtic Mass》 by Michael McGlynn who employed principally celtic materials as popul ar music in the choir. Generally the celtic music was for solo for voice and chamber music before, according to this study the celtic choral music this study have an object in view to show popular value of Celtic Mass with convergence in choral music. There are church mode s with contemporary techniques in Michael McGlynn’s choral music from point of view of conv ergence and compromise with celtic music. As a result of it, McGlynn’s choral music has become creative and popular. In conclusion, his choral music has been femilar and modern in contemporary choral music in western music including America. In addition his choral mus ic. This Celtic Mass has raised newly interest of audience in the popular choral music with new and exotic sound.

Recently, the musicals produced in Korea are based on composers and performers in the classic music period. In this paper, the musicals such as , , , and investigate in terms of exploration and application, presence and liveness and prior knowledge. As a result of these, the commitment, preference and affinity of audience have increased when these kind of musicals have the creative stories with musicians and playing music in the stage when they have prior knowledge about the musicians for the musicals. Nowadays the traditional liveness of performances in the stage has been much higher in the musicals. Therefore these musicals could been classified affirmatively as a new type of musical.

Funk rhythm was created and developed by James Brown and his bands in 1965, and applied and fused Latin music rhythms influenced by African Americans to American popular music. This thesis studied the relationship between funk rhythm and African rhythm, which had a great influence on the rhythm of popular music, from a structural point of view. The purpose of this study is to systematically analyze the generation and development of funk rhythm, which has a great influence on the rhythm of popular music, and to present the principles of rhythm application and fusion method. The research method was analyzed by comparing the rhythm structure of Latin music with the funk rhythm established after the release of James Brown's album in 1965, which is called the revolution of popular music rhythm, and the method of creating and applying the rhythm of popular music was studied. As a result of the study, a correlation could be found between the clave, the central rhythm of Latin, and the drum rhythm used in popular music. Finally, if this method is used, the possibility of creating a new popular music rhythm by applying many traditional rhythms is suggested.

This study analyses and , two Leitmotiv music pieces that was composed by Seok Seonghui which are included in the original soundtracks of movie 『Journey Under Midnight Sun(2009)』, by interviewing the composer himself and exploring the way he utilizes the music in the film. Both songs are composed in a form of solo piano music. The composer explained that he has chosen this form, because the unique tone of the instrument is suitable for displaying the emotions of the characters, and it is the best way to deliver the thematic melody with his full intention. Based on the score provided by the composer, analyzing the key, beats, rhythm, harmonies and the compositional patterns of and was used as a research method. the purpose of this research is to recognize the composer’s intention of what he wanted to express through music in the movie by observing the source based on the interview with him. As a result, I learned that the main characteristics of the light motif of 'Johann' are the repeated thematic melody and sound pattern. Also, I found out the music has been transformed and developed depending on the use of script or not, or it remained in its original form. This was effective on making the actor’s lines to be standing out without disturbing the flow of the film. In addition, I discovered that this effect can be utilized to support expressing the emotions of the characters in the movie and help the audience to immerse themselves in and to understand the movie. This study had a limitation on the researching process because of the absence of sheet music which led to explore only fractional music from the film and not as a whole. In order to help investigating the compositional technique of Korean film music and applying it in its field, it was suggested that all music in this movie were made into sheet music and a follow-up study was made.

This paper is studied for the purpose of exploring how to interpret popular music from a new perspective. For this purpose, this paper analyzes the lyrics and video expressions in BTS’s「LOVE YOURSELF」series based on the theory of pure desire in Lacan’s psychoanalysis. Pure desire refers to the inherent desire embodied in the form of life that exists to deviate from being equal to others, which is what Lacan says in the ethics of desire. The ethics of desire is a theory that informs the imperfections inherent in the universality or rationality based on our lives. The research method is to conduct a qualitative study to analyze the music video of 「LOVE YOURSELF」 based on the theory of pure desire shown in Lacan’s 『Seminar 7: The Ethics of Psychoanalysis』. Through the meaning inherent in the song lyrics of 「LOVE YOURSELF」, this paper figures out the correlation between the album trilogy and Lacan’s Imaginary Stage, Symbolic Order, and Real Order and analyzes the meaning of pure desire. The necessity of this study is to show that a certain area of popular music aims for pure desire, and suggest that popular music researchers pay more attention to pure desire.

The purpose of this study is to establish a systematic music education curriculum that can cultivate professional musical actors through research on essential subjects necessary for effective music education for musical students. Therefore, in this thesis, research was conducted focusing on music, acting, dance, and music-related subjects, which are the most basic in fostering musical majors. For the study, the entire department of musical majors in domestic universities was investigated, and among them, six domestic universities that include four essential music subjects (music theory, vocals, repertoire analysis, audition), which are the minimum curriculum for musical music education, were selected and curricula for each department were compared and analyzed. In order to find a more desirable direction for the development of Korean musical major music curriculum, the AMDA Performing Arts College's musical major curriculum was investigated to see if the current subjects were progressing correctly and what subjects should be improved in the future. As a result, five differences were found that were different from the musical major curriculum of Korean universities. Based on this,15 music curriculums were proposed for Korean musical major students. Based on this study, if each university's musical major and music curriculum consists of a systematic and diverse curriculum, it is expected that the university's major education will be of great help in achieving the desired educational purpose to cultivate professional musical actors.

The artist's work is a tool for direct or indirect message transmission. If you look closely at the works, you can find out the times, lives, and messages they lived in. In particular, re-illuminating the works of the past that we did not live in allows us to know the message of the times and lives in which they lived. Therefore, it is necessary to study the works of the past. The purpose of this study is to analyze and study the inner meaning of each film by selecting related films to analyze women's message expression methods. The scope of the study was to study the lives and works of female musician Clara Josephine Schumann (1819–1896) and novelist Adeline Virginia Woolf(1882–1941), re-examined in modern times. To this end, we analyzed the visual and auditory elements of the female protagonist, focusing on the films 『Geliebte Clara, 2008』 and 『The Hours, 2002』, in which their lives and works were made into films. The visual point of view analyzed the characters' psychology and the auditory point of view analyzed the movie music. Through the analysis, it was possible to know the psychological state of the person projected in the music and the psychological state of the person projected in the literature. As a result of the analysis, in the case of film music, emotions were expressed by playing melodies using the intrinsic music played by the characters themselves. In particular, music was used instead of dialogue to express the psychology. The music and novel used in the film conveyed emotions to others, and the conveyed emotions developed the film's narrative.

This paper tries to categorize YouTube content in the field of instrumental music classes for distance learning and then examine content and goals with a focus on the psychomotor learning stage. This study presented directions for instructors who produce online lecture videos for instrumental music classes and YouTube content for non-face-to-face classes. As for the research method, this study conducted analysis by learning stage after assorting YouTube content with high views that meets the analysis criteria for instrumental music edu cation. Consequently, this study confirmed the following three characteristics. First, You Tube instrumental music class content in all stages satisfied elements, such as video lengt h, appearance of a teacher, use of subtitles, visual elements, provision of supplementary material, and interaction, thus offering standards for content for effective distance learn ing. Second, lecture videos produced by focusing on creative expression and content that emphasizes the functional mastery of instrument playing required a unique video production strategy for effective non-face-to-face teaching in terms of content, composition, and edit ing. Third, YouTube channels in the field of instrumental music classes involved a variety of efforts, including on- and offline interaction between teacher and learner, with the pur pose of supplementing the limitations of distance learning. This discussion has meaning as a basic work that suggests a practical solution for producing videos for remote lessons in the emerging field of instrumental music according to the psychomotor learning stages using the YouTube platform.

After the emergence of Arnold Schnberg's Atonal music in the early 20th century, many composers composed using 12-Tone Technique. The 12-tone technique is a composition method in which all notes in one octave are evenly used to compose a song. The music, which was in discord with the public who were familiar with Tonal Music at the time, was not welcomed. However, as times changed, this composition method began to affect not only classical music but also popular musicians. In particular, in the case of jazz music that emphasizes improvisation, it can be found in the research data on work analysis that the influence of 12-Tone Techniques and Atonal Music appears in many parts of composition and performance. The purpose of this paper is to help research differentiated composition methods as well as improvisation by organizing notes that can be used in addition to Chord Tones or Scale Notes within Chords. To this end, the sound change was investigated by substituting the most useful Minor Pentatonic Scale in the popular music genre into 12 compositions (Key) in the Dominant 7th Chord. As a result, it was confirmed that there are some parts where dissonance occurs when each scale is applied, but it can be used as Passing Tone or Ornaments, and that it can be applied to composition, arrangement, and improvisation through the contrast between In Sound and Out Sound. However, this requires not only an understanding of the texture of the sound of the performer, but also a high understanding of Rhythm and Harmony.

The elements of the book musical are based on the original, and the music and lyrics are The elements of the book musical are based on the original, and the music and lyrics are important. Based on this, the development of events, character setting of characters, narrative structure arrangement, lines and lyrics are set. Then, if the director is different but shows a similar narrative structure, the question was raised as to whether the film music is similar. Therefore, although the directors are different, it is necessary to analyze the film music by selecting the same film music composer. The purpose of this study is to find out the characteristics of film music by selecting a book musical movie with a different director but the same music composer and similar narrative, and which music element the composer uses to develop the narrative. The subjects of the study were of the movie 『The King and I』 and the film music of of . The research method analyzed the narrative structure of the films 『The King and I』 and 『The Sound of Music』 and extracted scenes with songs from similar scenes from the two films. The song lyrics, composition, beat, rhythm, pitch, and pitch pattern characteristics of the movie music and corresponding to this were analyzed. As a result of the study, the use of repeated melodies revealed knowledge that was not known through the song, which allowed people to accept it without objection and had the effect of forming a bond.

The development of convergence majors in universities is in accordance with the rapidly changing demands of the times, and in particular, the necessity of convergence between music and multimedia is emerging as a major. Therefore, this paper compares and analyzes the educational contents of New York University's Interactive Media Arts course, a convergence major of a practical approach, and Stanford University's Music, Science, and Technology course, which continues digital-based learning in the cognitive aspect, based on the theory of music. The type of New York University's IMA course is a form of convergence of various arts including music based on digital media. There are five elective distributions so that students can study and according to interests and preference. The MST course, a convergence major at Stanford University, has an educational content that learns digital and computer-based programs with the beginning of convergence in music, and operates a curriculum that consistently induces the convergence of music and multimedia including the human hearing and the system of the cranial nerves to music, such as music anthroposophy, music neuroscience.

Addressed in this study is the process of transition of the creative musical to a non-face-to-face performance due to COVID 19. The target of this study is the children who belong to a member of Little Yongin, a children's musical company of the Yongin branch of the National Theater Association of Korea. The Children's Musical Company, Little Yongin, founded in 2005, is an art group that selects children in Yongin through an open audition once a year and performs regular and special performances every year. The creative musical was selected as the 2021 Gyeonggi Dream School Program and received a subsidy from the Education Office to prepare for the performance. However, due to COVID 19 and social distancing level 2.5, it was impossible to perform face-to-face. In response, Little Yongin, decided to perform a non-face-to-face performance using Zoom. However, because of the difficulties of unfamiliarity with using the system and the participation attitude and immersion of the children, the creative musical was converted into a stage reading rather than a musical. In this study, the children were asked about strengths and weaknesses in non-face-to-face musical practice and performance such as acting, dancing, and singing through in-depth interviews and surveys. The children set up a camera in their rooms and play each role through zoom. Technological development that completes the work by integrating each image into one. The researcher of this study has an important task to develop an efficient teaching method of real-time non-face-to-face musical education for children. The results of this study are intended to be of some help when teaching and performing non-face-to-face real-time musicals for children in the post-era of COVID 19.

This paper studied about the early closing factors of Disney Musical on Broadway 『Froze n』. The purpose of the study is to analyze the closing factors of the Disney Musical on Broadway 『Frozen』, which was decided to close earlier during Broadway shutdown due to Covid-19, and to provide information to producers to reduce trial and error when making musical based on animation film. To do this, in terms of work, after collecting basic information on how the original animation film produced as the musical, it was described based on the performance that the researcher watched. In terms of management, it was compared and analyzed the box office record of three Disney Musical on Broadway based on the data that Broadway League provided to Playbill. As a result of the study, Disney, which got damaged from economic losses of Covid-19, had to withdraw at least one of three musicals on Broadway to raise funds. In this situation, 『Frozen』 kept lower box-office record than other two musicals 『The Lion King』 and 『Aladdin』. In response, this researcher claimed that 『Frozen』 was not as popular as the original animation film because it was failed to choose and focus the process of making an animation film into musical, so there were no innovative and creative ways to express it only on stage. Although there is a limitation and it had to rely on only overseas articles because there were no previous studies related with this, this study was suggested that if later studies are conducted by providing more objective data like audience surveys, it can be useful reference when making musical based on animation film.

This paper aims to help the field of practical music education respond effectively to future education systems, describes the need for education using the 4th Industrial Revolution, and studies how universities teaching practical music and students majoring in practical music in Korea perceive and prepare for the future field of practical music. The research method analyzed whether or not universities in Seoul area recognize and educate future education centered on the 4th industry through curriculum analysis, and surveyed students on practical music major in the same area about how new technologies could change if they were applied those to their majors. As a result of the study, most practical music universities did not have curricula corresponding to future education and academic convergence, and it was analyzed that students' perceptions of them were also low. However, since the MZ generation experienced metaverse through various media and games before the older generation, they were quick to recognize or understand these technologies and were able to present creative ways to effectively apply them to detailed their majors. If in the music-education field students' abilities to recognize and respond to the future market are improved, they will be able to cultivate musical talent to effectively respond to the upcoming Fourth Industrial Revolution.

The purpose of this study is to understand the lack of effective management methodology in the previous study of Applied music academy and to provide basic information on effective methods to reflect the realistic voices of students. Therefore, a questionnaire was conducted to investigate the effect of Applied music academy education services on students' self-efficacy and satisfaction. The SPSSV.22 program was used to distribute questionnaires to students of Applied music schools nationwide from September 1, 2021 to September 15, 2021. The results showed that cognitive, emotional and social factors, which are the lower factors of self-efficacy, had a statistically significant effect on subject satisfaction, and that cognitive and social satisfaction had a statistically significant effect on subject satisfaction. The effect on career decision is due to cognitive, emotional and social statistical significance, and to cognitive and emotional significance in career trends. The effect of satisfaction, subject satisfaction, and knowledge satisfaction on career decision is statistically significant for satisfaction, subject satisfaction, and knowledge satisfaction is statistically significant for career trends.

According to Saul Miller, a Canadian performance consultant, positive performers often say things like "I can do it" and "I will do it," so they can eventually do it and do it even if there are difficulties. It is also said that they live according to the basic rule of "you will get as much as you think." As such, mind control is as important as technology in performance. This paper describes the importance and necessity of mind control in the performance environment of practical music. In addition, we investigated how they perceive and respond to this topic in the field of practical music education and studied what kind of mind control they are doing in the actual performance environment and what the positive effects are. The purpose of this study is to provide research results on the effectiveness and importance of mind control to professors, learners, and performers related to practical music so that more positive effects can be derived in the performance environment. The research method analyzed the curriculum of educational institutions related to practical music and investigated how they responded to mind control. Through a survey of practical music majors, we first studied whether they were aware of the importance of this topic, secondly, whether they were actually controlling their minds, thirdly, what kind of mind control they were performing. Lastly we studied what the positive effects of students' mind control before their performance were. As a result of the analysis, it was found that the effect of mind control was great and important, but educational institutions did not recognize or educate mind control professionally, and only 45% of major students were aware of the importance. In addition, 30% of the majors have simple mind control that is not professional in performance, and 85% of the students have a positive effect.

This thesis is a study to derive the characteristics of self-expression themes appearing in the lyrics of the works of Korean female singer-songwriter Sunwoo Jung-a. As a singer-songwriter, he writes and composes himself, so he is not restricted in selecting the subject of his work, and he can freely express his message or values of music. Therefore, in this thesis, the songs included in the self-expression theme that showed the characteristics of singer-songwriter in Sunwoo Jung-ah's works were classified and the lyrics analysis was attempted. First, when the songs that correspond to the self-expression theme are classified, there are a total of 6 songs that correspond to the theme. As a result of analyzing the six selected songs, within the main theme of self-expression, fear, inferiority, competition, desire, and one's own music values were used as sub-themes. Then, as a result of the analysis of lyrics, the number of syllables in the lyrics was regularly arranged to form a rhyme. In addition, direct expressions and negative emotional expressions were expressed in the lyrics through various materials. Through this, it can be seen that the songs that fall under the theme of self-expression are themes derived from Sun woo Jung-a's appearance complex, and a characteristic that differentiates them from the themes mainly used by professional lyricists in existing popular songs was derived.

Music is composed of rhythm, harmony, and melody, and among them, rhythm is composed of a temporal ratio structure and has a great influence on the musical groove. The purpose of this paper is to investigate how the human brain perceives, perceives, and processes rhythm, and to present factors that influence rhythm grooves so that musicians who make, perform, and sing can express themselves more rhythmically. has been studied with The research method described how the brain processes rhythm from a neurological point of view, and surveyed factors that can influence rhythm grooves through a survey of music experts. As a result of the study, our brain described rhythm as a temporal ratio structure that recognizes and perceives and processes. In addition, in a survey on 'factors that affect rhythm groove', 76.5% of 215 music experts perceived that accent, 76.1% timing, 75.6% note length, and 41.3% dictionary influence were found. Lastly, it is predicted that this study will lead to experimental research on the most influential elements through direct experience of music experts by making samples of the elements found in the survey, and that it will be possible to present more certain elements of rhythm grooves.

Recently, as Virtual Reality and Metaverse have become popular, music has also emerged with spatial sound, a new form of music tailored to the flow of the times. The purpose of this work is to identify the industrial activation potential of music using spatial sound technology, and to organize the theoretical background for the implementation of spatial sound. As a result, for comparative analysis of stereo music and music produced by spatial sound, frequency band image analysis, listening evaluation, and industry expert opinion survey were conducted. As a result, first, there was a clear difference in production progress between music produced by spatial sound and stereo music, as well as significant differences in frequency bands and stereo images. Secondly, the public felt that spatial sound music was unfamiliar, but they impressed about the realistic and lively spatial sound. Third, experts said that standardization of production pipelines and the distribution of devices are a priority for music content applied with spatial sound to be spread in the market. Music content using spatial sound still has clear limits to be solved, but it is a field with sufficient possibilities.

1930-1940s Swing jazz music, called the big band era, is a period of rhythmic development. At the same time, thezrole of the tuba in the big band has changed to double bass. Jimmy Blanton, who was the bass player in Duke Ellington's band from 1939-1931, went beyond the simple traditional method and played with various techniques, not just scales and chords. This was the beginning to change the concept of jazz bass playing style. Jimmy Blanton is the first bassist to showcase his modern jazz-based playing style. Many bassists have appeared, including Jimmy Blanton, one of whom is Ray Brown. Ray Brown was a representative bassist of the bebop era, who was influenced by Jimmy Blanton's performance and was characterized by the use of mode scales and the use of half-tones. In this paper, Jimmy Blanton and Bassist Tray Brown, who were influenced by his performance, were analyzed and compared for each word of the two performers' common performances . Throughout this paper, Jimmy Blanton's use of accurate chord tones and scales, the use of patterns, the use of preceding notes, and the dynamic performance through repeated use of rhythms and melodies, as seen in Ray Brown's improvisation. I was able to know that I was able to play. On the contrary, Ray Brown was able to discover the characteristics of playing by borrowing the familiar melody, and Ray Brown played with a minor feeling by connecting the characteristic sounds with chord tones. I understood it. The author thinks that analyzing the performances of the performers advanced through this research and continuously studying their characteristics will be of great help to the future musical development and growth.

This study is based on the musical work involved by the music director in the process of producing a creative musical performance. The purpose of this study is to understand the work of the music director through direct examples of the musical production site for the performance of the musical number. While previous studies on music directors focused on indirect reviews of case interviews with music directors, this study directly describes the routining process, which is the performance of musical numbers, from the music director's point of view. Through previous research, this researcher analyzed the theoretical basis for the music change process, routining, and considered the work area performed by the music director by applying it to the case of the production process of the creative musical . As a result of the study, the music director understands the composition and arrangement of the musical number, adjusts the music in consideration of the flow of the drama, the connection for stage change, and the delivery of lyrics and pronunciation, and provides vocal guidance for actors to acquire the number. He is in charge of arranging vocals, such as adjusting the keys and adding chords for the number. It is hoped that this study will help to understand the process by which intangible sheet music is transformed into a tangible performance in creative musical production, and to study the role of the music director at the center of the process.

Vocal reality programs are used as a gateway to the trend of certain music genres and stars, and in order to succeed in the long run, it is important to develop them into new and specialized programs through more diverse production methods. This paper studied the direction of production of vocal reality programs by broadcaster and was studied with the aim of providing information to enable formatting of various programs with a fixed production element called vocals. The research method presented various vocal reality programs' planning, production intentions, and formats through analysis of related literature, and selected programs that could confirm their intentions from the vocal reality programs produced until December 2020. First of all, the terrestrial broadcasting channel was formatted as an interesting and fun-oriented program for all ages to enjoy, and as a result, stable operation was possible. "Second, the 'comprehensive programming channel' was relatively specific to the participants and music genres, and it was broadcast in the long term through a recess if it was a popular program." Finally, the 'cable channel' produced a program with a competitive structure that caused tension.An analysis has been derived that '. This paper has limitations because the derivation and change of vocal reality programs are produced within the same broadcasting company, and suggested that the creation and change process of vocal reality programs could be expanded to various perspectives.

Media has grown with the development of the times and Music industry has advanced with the media. In this respect, the purpose of this study is to analyze influence of media on personal consumption of music and gain insights. Firstly, this study figured out mutual relationship between media and culture based on national certified Ga-on Chart, grasped the flow of media and personal consumption, and analyzed the influence of 2020 TV program and Musics that were popular in SNS on personal consumption of music. As a result, It was shown that the musics which were mentioned on TV program or SNS quickly climbed the music charts again and led hot trends of some genre as rediscovering and promoting stars. That is, advanced media has influence on not only personal consumption of music but also the genre and one’s taste. From the results, this study suggest implications about music market which is led by advanced media and contribute to the growth of Korean music industry.

This study focuses on the ways of enjoying idol fandom according to the tendency of Koreans. Prior to the study, it was confirmed through mass media that there was a conflict in the process of Korean fans' acceptance of globalized idol activities such as recruiting foreign members of idols and singing in foreign languages in Korean broadcasts. The purpose of this study is to analyze the causes of such conflicts and to suggest effective fan marketing of entertainment in the activities of global idols. A qualitative case study was conducted to analyze individual cases in the fandom. In-depth interviews of 8 idol's fan club members were conducted, and the data collected through recordings and video recordings were transcribed, followed by line-by-line analysis and categorization. The categories derived are: 1st, Korean fan expectations for idols, 2nd, extreme job of idols that meet the expectations, 3rd, characteristics of Korean idols, 4th, Korean culture that foreign members need to understand, 5th, global activities and foreign language use of Korean idols. Based on the derived results, a plan for entertainment to accommodate Korean fans was suggested. First, entertainment must produce artists with the right values and morals. Second, entertainment must act as a clear mediator between idols and fans. Third, there must be a balance between idol activities in Korea and oversea. Fourth, education of Korean culture for foreign members should be carried out. This study is significant in that it identified individual ways and tendencies to enjoy fandom rather than focusing on the collective nature of fandom. However, due to the limitations of the gender imbalance of the study participants and the limited age, it was suggested that follow-up studies focusing on issues related to fandom are needed for various researchers in the future.

This study is to analyze the resistance consciousness of K-Pop idol music and to present the future development direction by recognizing its value as a popular culture art with social message rather than just consumed goods. First, 125 songs with resistance consciousness were selected among all the songs of 48 major idol singers, and the changes in material and emotional expression were divided into the past 90s and the present into 2010s and then compared and analyzed. As a result, in the 90s, the national category of resistance consciousness was mainly used as a material, but in the 2010s, it was characterized by the change of most of them into personal categories. In addition, the negative emotional expression was mainly used in the 90s, but in the 2010s it changed into a positive form, which made a clear contrast to the 90s. On the other hand, it was found that the main object of resistance common in the past and present is the older generation. Through this study, idol singers will be able to recognize their influence on music and deliver messages steadily, which will lead to the change of the right social consciousness to the public. In addition, I hope that it will be used in the study of students' emotions in secondary education and I hope that academic research on the messages they want to convey will be more diversified and expanded in the future.

This paper studied how the volume, tone, and envelop change according to the change in the size and mass of the vibration control device used in the snare drum among the musical instruments composing the drum set. The purpose is to provide information on the snare tone to be expressed by providing the characteristics of the sound derived according to the change of the vibration control device to drummers and sound engineers who play using the snare drum. Improving the ability to use music can have a positive effect on improving the expressive ability of performers and sound engineer depending on the genre and style of music. As a result of the experiment, there was no change in loudness in the environment where the area and mass were changed using the vibration control device, the change in frequency response was insignificant, and the length of the envelope was greatly changed. In the course of the experiment, the tone of the snare drum actually heard was very large. In particular, there was a large tone change in the experimental environment due to the change in area rather than mass. As a result, the vibration control device is substantially only involved in the envelope, and the snare drum has a short envelope, so unlike some perceptions that the tone generated in the front part of the envelope is more important, the back part of the envelope also has a great influence on the tone perceived by humans.

This study aimed to deal with the current performance status and improvement plans, focusing on the event organizers of <#Save Our Stages> in Korea, an online pop music festival held in March 2021. Based on this, it also aimed to arouse social interest in online pop music festivals that were not preceded in the past and to present the potential for the development of online pop music festivals in the future. The scope of this study for the achievement of its purposes was <#Save Our Stages> in Korea, the pad campaign-type online pop music festival held for the first time in Korea with the purpose of revitalizing its indie live venues that have been stagnant due to the COVID-19 pandemic. In addition, It selected five event organizers of <#Save Our Stages> in Korea and then conducted in-depth interviews with them as a method for a qualitative study through an in-depth interview. The results of the in-depth interview were as follows. First, the sustainability of the online pop music festival turned out to be rather negaive, but considering that the future performance culture will be changed to be held both online and offline, it seems necessary to conduct a study on pop music festivals from various perspectives. Second, the problems of online pop music festivals included lack of budget and technical problems, so it seems that the technical problem should be solved by strengthening the online performance platform while securing the budget through an increase in both the quality of the festival and its ticket price. Third, it seems that there is a need to implement regulations without any discrimination between genres and to prepare practical support policies through close communication between the relevant industry officials and government ministries. It has a limitation that it has suggested improvement plans of and the potential for the development of online pop music festivals with a single case of <#Save Our Stages> in Korea, but it has suggested that it would be a study on the problems that the Korean pop industry should solve in the future.