사운드 반응형 기술을 활용한 클래식 음악 공연의 상호작용 구조 분석 = Analyzing Interaction Structures in Classical Music Performances Using Sound-Responsive Technology

다국어 초록 (Multilingual Abstract)

This study aims to qualitatively examine classical music performances employing sound-responsive technology, focusing on the interaction structure formed between music and visual technology within the performance process. As digital technologies have increasingly been integrated into the performing arts, new forms of performance and sensory experiences have emerged. However, previous studies have largely emphasized the socio-cultural implications of technological adoption or changes in audience perception, while paying relatively limited attention to how technology operates internally and interacts with musical elements during performance.
Addressing this gap, the present study conceptualizes sound-responsive technology as a science–technology convergence system that analyzes acoustic features of music in real time and translates them into visual responses. A qualitative case study approach was adopted, examining one domestic case and two international cases. Data were collected through performance documentation, technical configuration materials, and participant observation focusing on performers’ and audiences’ experiences.
The findings indicate that sound-responsive technology functions not merely as a supplementary visual effect but as a core component shaping the performance structure. In the domestic case, the technology primarily supported audience understanding and immersion by visualizing musical structures. In contrast, the international cases demonstrated a more generative performance model, in which technology actively participated in the creation process and formed an interdependent relationship with performers and visual elements. These results suggest that sound-responsive performances should be understood as process-oriented practices in which art and science–technology convergence operates within the internal structure of performance rather than as outcome-based technological enhancements.
By analyzing sound-responsive performances from the perspective of internal interaction mechanisms, this study expands the analytical scope of art–technology convergence research and offers theoretical and practical implications for future studies on technology-based performing arts.