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.