온라인 스트리밍 뮤지컬 공연의 서비스품질 요인 IPA 분석

김지원 중앙대학교 예술대학원 2022 국내석사

본 연구는 온라인 스트리밍 뮤지컬 공연의 서비스품질 요인에 대한 이용자의 중요도 및 만족도 분석에 관한 연구로, 디지털 기술의 발전과 미디어 환경의 변화 및 COVID-19의 확산으로 인한 급격한 공연예술환경의 변화 속에서 진행되는 온라인 공연이 장기적이고 안정적인 콘텐츠로 자리 잡기 위한 전략적인 접근의 필요성으로부터 시작되었다. 이에 본 연구는 온라인 스트리밍 뮤지컬 공연의 서비스품질 요인을 도출한 후 IPA 기법을 통해 온라인 뮤지컬 공연의 서비스품질 요인에 대한 이용자 인식 및 중요도-만족도 차이를 실증분석하였으며, 온라인 공연 서비스품질에 대한 관객의 인식을 파악하여 온라인 뮤지컬 공연의 발전 및 경쟁력 향상을 위한 기초자료를 산출함으로써 시사점을 도출하고자 하였다. 이를 위해 우선 뮤지컬, 온라인 스트리밍, 서비스품질, IPA 기법에 관한 선행연구를 검토하고 공연 및 스트리밍의 서비스품질 요인에 대한 개념을 참고하여 본 연구의 이론적 배경을 구축하였다. 이어 실증적 검증을 위하여 온라인 뮤지컬 공연 관람객 315명을 대상으로 설문조사를 실시하였으며 다음과 같은 분석결과를 도출하였다. 첫째, 온라인 스트리밍 뮤지컬 공연 관람특성에 대해 빈도분석을 실시한 결과 관람횟수는 1~2회가 56.8%로 가장 많은 것으로 나타났고, 관심이 있는 공연이라서 관람하는 것으로 나타났다. 또한, 온라인 뮤지컬 유료관람 여부에서는 67.3%가 유료관람 경험이 있으며, 지출비용은 대체로 10만원 미만인 것으로 나타났다. 오프라인 뮤지컬 관람경험은 88.3%로 높은 편이었으며, 관람횟수는 12회 이상이 39.7%, 1~2회가 30.8% 순으로 나타났고 오프라인 관람 지출비용은 100만원 이상이 34.4%, 10~30만원 미만이 20.6% 순으로 나타났다. 이를 통해 온라인 뮤지컬 관객의 대부분은 오프라인 뮤지컬의 관람 경험이 있는 사람이며, 오프라인 뮤지컬의 관람횟수 및 지출비용에 비해 온라인 뮤지컬의 관람횟수 및 지출비용이 확연히 적은 모습을 확인할 수 있었다. 둘째, 온라인 스트리밍 뮤지컬 공연의 서비스품질 요인 중요도를 분석한 결과 전체적으로 기술성이 가장 높게 나타났고, 그 다음이 편의성>신뢰성>콘텐츠특성>이용용이성>영상화특성>가격성>반응성>정보성>상호작용성 순이었다. 만족도는 전체적으로 편의성이 가장 높게 나타났으며, 그 다음은 신뢰성>영상화특성>콘텐츠특성>이용용이성>가격성>정보성>기술성>반응성>상호작용성 순으로 나타났다. 이를 통해 온라인 공연 관객은 스트리밍 서비스 이용 시 기술성을 가장 중요하게 생각하지만, 만족도는 확연하게 낮은 것을 확인할 수 있다. 반면 편의성 및 신뢰성은 중요도와 만족도가 모두 높으며, 상호작용성과 반응성, 정보성은 상대적으로 낮은 것을 볼 수 있다. 셋째, 온라인 스트리밍 뮤지컬 공연 서비스품질 요인의 중요도와 만족도에 차이가 있는지를 분석한 결과, 대부분의 서비스 품질요인의 만족도가 중요도에 비해 상대적으로 낮은 것으로 나타났으며, 상호작용성만이 만족도가 중요도보다 더 높은 것으로 나타났다. 넷째, 온라인 스트리밍 뮤지컬 공연의 서비스품질 요인 중요도와 만족도에 대한 IPA 매트릭스 분석을 실시한 결과 콘텐츠특성, 영상화특성, 신뢰성, 이용용이성, 편의성이 좋은 만족도 지속유지 항목으로 나타났으며, 기술성, 가격성이 노력집중화의 지향 항목으로, 정보성, 상호작용성, 반응성이 낮은 우선순위 항목으로 나타났다. 이상의 과정을 통해 도출된 분석결과는 온라인 스트리밍 뮤지컬 공연 관객의 유형과 관람 경로 및 온라인 공연 서비스품질의 현 위치와 강점 및 약점을 파악할 수 있으며, 온라인 공연의 발전 방향 수립과 전략적 관리를 위한 기초자료가 될 수 있다. 본 연구 결과가 온라인 공연의 효과적인 전략 수립을 넘어서 다방면에 기여할 수 있는 자료로 활용될 수 있기를 기대한다. This study is an analysis of the audience’s importance and satisfaction on the service quality factors of streamed online musical performance. This study aims to take a strategic approach to establish online performance, which has been growing amid rapid development of digital technology and changing media environment as well as sudden changes in performing arts environment due to the spread of COVID-19, as a new form of theatrical content in the long term. Therefore, this research derives service quality factors of streamed online musical performances and uses the Importance-Performance Analysis (IPA) method to identify user's perception and the differences between importance and satisfaction in empirical testing. This paper also analyzes user's perception on service quality of online performances to produce basic data for the development and competitiveness improvement of online musical performances and draw implications from it. To this end, precedent studies on musicals, online streaming, service quality and the IPA method were reviewed and the theoretical background of this study was established on the concept of service quality factors of performances and online streaming. Then, for empirical verification, a survey was conducted on 315 streamed online musical performance audiences and the following analysis results were obtained. First, the frequency analysis on the characteristics of streamed online musical performance audiences, 56.8% of the viewers watched online performances 1-2 times and the most popular reason why they watched online performances was because they were interested in those performances. In addition, 67.3% of online musical audiences have paid for viewing and the expenditure was generally less than 100,000 won. A high proportion of 88.3%of the participants have watched actual musical performances at offline theater and 39.7% answered they attend offline musical performances over 12 times a year, while 30.8% attend 1 or 2 times. For offline musical performances, 34.4% spent over 1 million won a year and 20.6% spent between 100,000 and 300,000 won. This survey found that the majority of online musical audiences have experience of watching musicals offline and the number of viewings and expenses for online musical are significantly lower compared to the number of viewings and expenditure for offline musical performances. Second, the analysis of the importance of service quality factors of streamed online musical performances, technology was ranked the highest in overall, followed by convenience, reliability, content characteristics, usability, video quality, price, responsiveness, information and interaction. In satisfaction, convenience was ranked at the top, followed by reliability, video quality, content characteristics, usability, price, information, technology, responsiveness and interaction. It shows that online performance audiences consider technology the most important, but their satisfaction is relatively low. On the other hand, importance and satisfaction were both high for convenience and reliability, while relatively low for interaction, responsiveness and information. Third, the analysis of the difference between importance and satisfaction of the service quality factors of streamed online musical performances shows that satisfaction of most service quality factors are relatively lower than their importance with only interaction has higher satisfaction than importance. Fourth, in the IPA matrix result on the importance and satisfaction of service quality factors of streamed online musical performance, content characteristics, video quality, reliability, usability and convenience were included in the Keep up the Good Work quadrant, technology and price were in the Concentrate Here quadrant, information, interaction and responsiveness were in the Low Priority quadrant. The analysis results of this research identify the types of streamed online musical performance audiences, access routes and the current status, strengths and weaknesses of online performance service quality and can provide basic data for setting the direction of development and strategic management of online performances. The findings of this study can be used as data that can contribute to various fields beyond building effective strategies for online performances.

전통공연예술과 뮤지컬의 장르적 융합에 관한 연구 : 작품의 유기적 구성 양식과 요소를 중심으로

김규리 경희대학교 경영대학원 2020 국내석사

Traditional performing arts, which are rooted in Korean history and culture, are currently showing the signs of modernistic development by promoting the production of various contents through the integration with new technologies and different genres while preserving and succeeding to the original forms. While moving into the 2000’s, the advancement of technology has enabled the exchange between various cultures around the world and the extensive embracement of such cultures, and Korea is also conducting and providing various researches and supports for traditional performing arts to expand its cultural industry. Today, the traditional performing arts experience the severance from the public as they failed to adapt to rapid socio-cultural changes while undergoing historical events such as the influx of western culture, colonization by Japan, and the Korean War and also, they are perceived as a peculiar genre of art which require special skills. This study intended to understand various efforts which are made to overcome such phenomena and bring traditional performing arts closer to the people, by applying the concept of ‘integration.’ Among such efforts, this study discussed the meaning and effect of using traditional performing arts by focusing on the genre integration with the musical which shares the characteristics of performing arts. First, the trends of the traditional performing arts and the musical were analyzed through the review of literatures and advance preceding studies. Based on the literature analysis, an in-depth analysis was conducted on the ‘creative musical’ pieces produced by domestic staff and opened between 2010 and 2020 to determine how traditional performing arts have been used within the compositional format of the musical where the story, song, and dance are put on stage at the same time. Within the limited scope and theoretical background, three pieces: the <Red Cliff> which opened at Jeongdong Theater, the musical <Pan> which opened at CJ Azit Theater on Daehakno and Jeongdong Theater, and the musical <Seopyeonje> which opened four times since 2010, were analyzed in depth. The compositional format and the elements derived from traditional performing arts were analyzed, and in-depth interviews with the crew members of the pieces were also conducted to verify the objectiveness of the study. As a result, it was possible to classify the pieces into ‘non-organic stage’ where the elements derived from traditional performing arts formed a significant relationship within the compositional format of the musical, the ‘transitional stage’ where both simple integration and partial organic relationship were found, and ‘organic stage’ where each of the elements were applied appropriately and the quality of the piece was high. This study intended to investigate the meaning and effect of forming an organic relationship between Korean traditional performing arts and musical by applying the concept of integration by focusing on the modernistic development of the Korean traditional performing arts involved with a musical piece. In summary, the combination of the compositional format of the musical and the Korean traditional performing arts formed an organic relationship which reduced negative perception of traditional performing arts and suggested the possibility of developing it into a unique musical format that can be produced in Korea. This possibility of development represents the possibility of an alternative that can not only overcome the limitation of the Korean traditional performing arts as a genre but also eliminate overheated competition and lack of materials, the problems emerging in domestic musical market. Furthermore, it is expected to expand the scope of reinterpretation regarding traditional performing arts and lead the cultural industry of Korea. 오늘날 한국의 역사와 문화에 뿌리를 두고 있는 전통공연예술은 전통적인 원형을 보존하고 계승함과 동시에 새로운 기술이나 여러 장르와의 결합을 통해 다양한 콘텐츠 제작을 활성화하는 현대적인 발전 양상을 보이고 있다. 2000년대에 접어들면서 기술의 발달로 세계 각국의 다양한 문화 교류가 가능하고 적극적인 수용이 이루어지고 있는 시기에 한국 역시 문화 산업의 확장을 위해 전통공연예술에 대한 여러 가지 연구와 지원이 이루어지고 있다. 한국전통공연예술은 서양 문화의 유입과 일제강점기, 남북전쟁 등 역사적 사건을 겪으며 급변하는 사회문화적 변화를 받아들이지 못하고 전문성을 요구하는 특수한 예술장르로 인식되어 대중들과 단절되는 현상을 겪었다. 본 연구에서는 이러한 현상을 극복하고 대중들에게 친근하게 다가가기 위해 시도하는 여러 가지 방안을 ‘융합’의 개념을 적용하여 이해하고자 한다. 그 중에서 공연예술적 성격이 공통으로 성립하는 뮤지컬과 장르적 융합을 중심으로 전통공연예술의 활용 의의와 효과를 논하고자 한다. 먼저 문헌연구와 선행연구 조사를 통해 전통공연예술과 뮤지컬의 동향에 대해 분석하였다. 이를 바탕으로 이야기와 노래와 춤이 동시에 실연되는 뮤지컬의 구성 양식 안에서 전통공연예술의 활용 형태를 알아보기 위해 2010년부터 2020년 사이에 개막한 국내 창작진이 제작하는 ‘창작 뮤지컬’ 작품으로 심층 분석 사례를 제한하였다. 제한된 범위 안에서 이론적 배경을 바탕으로 정동극장에서 개막한 <적벽>과 대학로 CJ 아지트 극장과 정동극장에서 개막한 뮤지컬 <판>, 2010년부터 총 네 차례 개막한 뮤지컬 <서편제> 세 가지 작품의 심층 분석을 진행하였다. 작품의 구성양식과 활용 요소 분석을 진행하되, 연구의 객관적인 증명을 위해 작품 제작 참여자를 대상으로 심층 인터뷰를 추가로 진행하였다. 그 결과 뮤지컬 구성 양식 안에서 유의미한 관계를 형성하는 정도의 기준으로 설정하였을 때 단순한 결합 형태를 이루는 ‘비(非)유기적인 단계’, 단순한 결합과 일부 유기적인 관계가 공존하는 ‘전환기적인 단계’, 각각의 구성 요소가 적절히 활용되면서 작품 완성도가 높은 ‘유기적인 단계’로 구분할 수 있었다. 본 논문은 전통공연예술의 현대적 발전 양상 중 뮤지컬 작품 안에서 활용되는 형태를 중심으로 융합의 개념을 적용하여 유기적인 관계를 형성하는 의의와 효과를 제시하고자 하였다. 결론적으로 뮤지컬의 구성 양식과 전통공연예술이 결합하였을 때 유기적인 관계를 형성함으로써 전통공연예술에 대한 부정적인 인식 요소를 감소시키고 한국에서 제작할 수 있는 독특한 뮤지컬 양식으로의 발전 가능성을 도출하였다는 의미를 가진다. 이러한 발전 가능성은 비단 전통공연예술 장르의 한계뿐만 아니라 국내 뮤지컬 시장에 도래한 경쟁 과열과 소재 고갈을 해결할 수 있는 대안으로의 가능성을 대변한다. 더 나아가 전통공연예술을 재해석하는 범위를 확장하여 한국의 문화 산업을 이끄는 일환으로 활용될 것을 기대한다.

한국 어린이 뮤지컬공연 관람객의 관람 의사결정에 관한 연구 : Q방법론 적용을 중심으로

서흥식 연세대학교 언론홍보대학원 2004 국내석사

현대사회에 있어서 일반대중 소비자들의 모든 경험은 행위로 나타나고, 이러한 사고나 느낌 같은 주관적 행위를 객관적으로 측정할 수 있는 Q방법론은 어린이 뮤지컬 공연을 관람하는 관람객들의 의사결정에 대한 유형을 구조화하고 유형별 특성을 파악, 기술하고 설명하려고 하는 본 연구의 목적에 적합한 방법으로 각 태도 유형에 대한 다양하고 풍부한 해석은 발견적이고 가설 생성적인 Q방법론에서 가능하다. 그러므로 점점 그 중요성과 비중이 커져가고 있는 어린이극을 중심으로 한 Q방법론을 통해 소비자의 의사결정과정에 대한 정확한 이해와 어린이극 소비자에 대한 기초 자료를 제시하고자 하는 것이 본 논문의 목적이다. 따라서, 이 논문의 의의는 어린이 뮤지컬공연에서 관람객의 관람의사에 대해서 기존의 계량적 방법론(R방법론)으로는 한계에 대한 대안책이 없어왔던 차에 이러한 Q방법론적 분석논문은 관객의 자아구조(schema) 속에 있는 요인들까지 파악할 수 있다는 점에 큰 의미가 있다고 본다. 특히, 생활이 윤택해 지면서 이러한 문화공연을 통한 레크리에이션 활동이 활발해지는 점을 감안한다면 이러한 연구활동은 많은 의미를 부여할 수 있을 것이다. 본 논문과 관련하여 다음과 같은 연구문제를 설정하였다. <연구문제 1> 인구 사회학적 특성(성, 연령, 직업)에 따라 한국 어린이 뮤지컬공연에서 나타나는 관람객의 관람 의사결정에 대한 인식은 어떠한 유형들로 구분되는가? <연구문제 2> 인구 사회학적 특성(성, 연령, 직업)에 따라 한국 어린이 뮤지컬공연에서 나타나는 관람객의 관람 의사결정에 대한 인식 유형들 간에는 어떠한 차이점을 갖는가? 다음으로, 본 연구자는 다음과 같이 연구가설을 선정하였다. <연구가설 1> 설문대상자들의 인구 사회학적 특성(성, 연령, 직업)에 따라 한국 어린이 뮤지컬공연에서 나타나는 관람객의 관람 의사결정에 대한 인식은 차이가 있을 것이다. <연구가설 2> 설문대상자들의 인구 사회학적 특성(성, 연령, 직업)에 따라 한국 어린이 뮤지컬공연에서 나타나는 관람객의 관람 의사결정에 대한 인식 유형들 간에는 차이가 있을 것이다. 이 연구에서 Q방법의 사용은 한국 어린이 뮤지컬공연에서 나타나는 다양한 일반대중들(관람객)의 관람 의사결정에 관한 주관성을 알아보기 위해 진술문형태의 카드를 분류하는 방법으로 이루어질 것이다. 이 진술문 작성을 위하여 연구자는 한국 어린이 뮤지컬공연에서 나타나는 다양한 일반대중들(관람객)의 관람 의사결정에 관한 관련 내용들과 국내문헌, 그리고 주변 사람들과의 인터뷰를 통하여 Q모집단(concourse)을 구성하고, 이를 통하여 진술문(Q-statement)을 작성한 후, P샘플을 선정, 분류작업(sorting) 과정을 거쳐 얻게 되는 Q-sort를 PC QUANL 프로그램을 이용, Q요인분석(Q-factor analysis)을 통해 분석하였다. 이 연구는 한국 어린이 뮤지컬공연에서 나타나는 다양한 일반대중들(관람객)의 관람 의사결정에 대해 지니고 있는 전반적인 관념들과 느낌, 의견, 가치관 등을 종합적으로 얻기 위해 어린이 뮤지컬, 관람객의 의사결정과 관련된 전문서적, 학술서적, 저널 등의 관련문헌 연구와 주변의 일반대중들을 대상으로 심층 인터뷰를 통하여 100개의 Q-population(concourse)을 추출할 것이다. 다음으로 Q-population에 포함된 진술문 중 주제에 관한 대표성이 가장 크다고 여겨지는 진술문을 임의로 선택하는 방법을 사용하여, 최종적으로 25개의 진술문 표본을 선정하고자 한다. 여기에서 선택된 25개의 진술문은 전체적으로 모든 의견들을 포괄하고, 긍정, 중립, 부정의 균형을 이룰 수 있도록 구성할 것이다. 또한 이 연구에서는 위에서 제시한 기준에 의거하여 성별, 연령, 직업 등 인구학적 특성을 적절히 고려하여 25명을 P샘플로 선정하고자 한다. Q표본과 P표본의 선정이 끝나게 되면 P표본으로 선정된 각 응답자(Q-sorter)에게 일정한 방법으로 Q샘플을 분류시키는데 이를 Q분류작업(Q-sorting)이라 부른다. 이때 양끝에 놓여진 3개의 진술문에 대해서는 각각의 코멘트(심층인터뷰)를 받아 두었다. 이것은 Q-factor 해석에 유용한 정보를 제공해 주기 때문이다. P표본에 대한 조사가 완료된 후 수집된 자료를 점수화하기 위하여 Q표본 분포도에서 가장 부정적인 경우 (-4)를 1점으로 시작하여 2점(-3), 3점(-2), 4점(-1), 5점(0), 6점(+1), 7점(+2), 8점(+3) 그리고 가장 긍정적인 경우 9점(+4)을 부여하여 점수화 한다. 이 부여된 점수를 진술문 번호순으로 코딩하고, 이러한 자료를 PC용 QUANL 프로그램으로 처리하여 그 결과를 얻는다. 이 연구에서 Q요인분석을 한 결과 연구자가 요구한 대로 4개의 유형이 나타났다. QUANL 프로그램을 실시해 본 결과, 구성된 분석유형은 총 ---4개의 유형으로 나타났다. 이 연구결과는 전체변량의 약 67%를 설명하고 있는 4개의 유형에는 각각 9명, 8명, 4명, 4명이 속하였는데, 여기서 인원수의 의미는 없다. 또한 인자가중치가 1.0이상인 사람이 각각 5명, 7명, 2명, 3명이 속해 있어 제 2유형이 가장 큰 인자임을 알 수 있다. 각 유형의 변량 크기를 나타내는 4개 유형에 대한 아이겐 값(eigen value)은 각각 10.3706, 2.8943, 1.8922, 1.5278 등으로 나타났다. 분석한 결과, 총 4가지의 유형으로 분류되었는데, 제1 유형은 뮤지컬 중시 절약형, 제 2유형은 적극적 선호형, 제 3유형은 문화적 향유형, 제 4유형은 가족 친화형으로서, 각 유형마다 독특한 특징이 있는 것으로 파악되었다. 그 외에도 일치하는 항목에 대한 분석, 두 유형간 차이분석, 타 유형과의 동의정도 비교 분석 등에 대해서 다각도로 이루어졌다. 무엇보다도, 본 논문에서는 최종 분석결과에서 지적된 바와 같이, 어린이 뮤지컬 공연에 대한 관람객들의 반응은 대부분 긍정적인 영향을 주고 있으며, 이에 따른 뮤지컬 공연문화에 대한 과학적이고도 합리적인 체계성 확립의 필요성이 제기된다고 할 수 있겠다. 아울러, 이러한 Q방법론을 통한 어린이 뮤지컬에 대한 관객의 의사결정과 주관성 연구는 여론, 태도, 집단, 역할, 문화, 사회화, 의사결정, 선전, 가치, 신념, 퍼스낼리티, 커뮤니케이션, 문학, 이미지, 아이디어 등 자아가 포함된 모든 영역에서 유용하게 활용될 수 있다고 본다. 즉, 다양한 방법론적인 접근과 다각적이고도 체계적인 연구작업이 요청된다고 하겠다. 본 논문에서는 지금까지 주요 연구방법으로 쓰여 왔던 R방법론(설문지 조사 및 내용분석)과는 달리 질적연구인 Q방법론(주관성연구측정방법)을 도입하여 조사 및 분석하였다. 본 연구는 실무자적인 입장에서 설문대상자들을 면접하여 분석된 의미있는 작업이었다. 또한 본 연구의 한계점으로는 어린이 뮤지컬 공연 관람객의 의사결정과정에 대해 주관성 연구측정을 중심으로 연구를 진행하였는데, 보다 심도있는 연구결과가 제시되기 위해서는 R방법론과 다각적인 내용분석 및 구체적인 문헌연구 작업이 함께 추진되어야 하는 점을 들 수 있겠다. 앞으로 이러한 연구는 예술적, 교육적, 문화적 효과를 측정하는 관람전후의 만족.불만족 요인을 탐색작업에도 시도되어야 한다고 보여진다.핵심용어: 어린이 뮤지컬 공연, 관람의사, Q-statements, 주관성연구, Q방법론, QUANL 프로그램 In our modern society, ordinary consumers'' all experiences are reflected in their behaviors. 'Q' methodology is designed to measure people''s thoughts, feeling or other subjective behaviors in an objective way, and therefore, it may well be useful in structuring people''s decisions to view children''s musical performances and thereby, analyzing, describing and explaining them. In other words, the hypothesis-based 'Q' methodology may be useful in interpreting various types of behaviors. On the other hand, children''s dramas become more and more important, attracting more people. The purpose of this study was to understand consumers'' decision-making processes by applying 'Q' methodology and thereby, provide for some basic data about the consumers for children''s dramas. This study may be significant in that because the conventional quantitative methodology ('R' methodology) cannot determine people''s will to view children''s music performances, the 'Q' methodology can analyze even the factors inherent in audience''s ego schema. In particular, as people''s living standards improve, their recreation activities including enjoyment of cultural performances increase, and therefore, such a study may well be significant. For this study, the following study points were set up; <Study point 1> How would people''s decisions to view children''s music performances in Korea be classified depending on their demographic variables (sex, age and job)? <Study pont 3> How would the types of perception of such decisions differ depending on their demographic variables (sex, age and job)? With regard to the above questions, the following hypotheses were set up; <Hypothesis 1> People''s perceptions of their decisions to view children''s musical performances in Korea would differ depending on their demographic variables (sex, age and job). <Hypothesis 1> Types of people''s perceptions of their decisions to view children''s musical performances in Korea would differ depending on their demographic variables (sex, age and job). For this study, 'Q' methodology was applied to classify people''s statement cards in order to review the subjectivity of people''s (audience''s) decisions to view children''s musical performances. In order to produce the statements, the researcher reviewed domestic literature about people''s (audience''s) decisions to view children''s musical performances and thereupon, interviewed with some sample people to construct 'Q' concourse and therethrough, produced a 'Q' statement, and then, selected and sorted a 'P' sample. The resultant data or 'Q-sort' were analyzed using the PC QUANL program for Q-factor analysis. In order to obtain a comprehensive data about people''s concepts, feeling, opinions and value systems regarding their decisions to view children''s musical performances in Korea, special books, academic books, journals and other relevant literature about audience''s decisions to view children''s musical performances were extensively reviewed, and thereupon, some people were sampled to be interviewed in-depth to produce 100 Q-population (concourse). Then, the statements included in Q-population were sorted out to arbitrarily select the ones which were deemed to represent the theme adequately, and thereby, 25 statement samples were selected finally. 25 sample statements were thought to cover all opinions, maintaining an equilibrium among affirmation, neutrality and negation. On the other hand, 25 people were selected as 'P' sample in consideration of such demographic variables as their sex, age and job and according to the criteria pre-determined. After 'Q' and 'P' samples were determined, each respondent of 'P' sample was sorted for 'Q' sample. (Q-sorting). 3 statement on both extremes of the spectrum were subject to comment (in-depth interview), because such comments was conceived as useful information for interpretation of Q-factor. When the survey for 'P' sample was complete, the collected data were marked numerically. Point 1 was allotted to the most negative case (-4), and point 2 (-3), point 3 (-2), point 4 (-1), point 5 (0), point 6 (+1), point 7 (+2) and point 8 (+3) were allotted to the next most negative cases, respectively. And point 9 (+4) was allotted to the most positive case. The points were encoded in the order of the statement numbers, and the resultant data were processed using the PC QUANL program. As a result of 'Q-factor' analysis, 4 types were identified as required. On the other hand, as a result of QUANL program processing, a total of 4 types for analysis were identified. The 4 types which explained about 67% of the entire variances were 9, 8, 4 and 4 people. Here, the number of people was insignificant. On the other hand, the number of the people with the factor weight of 1.0 or higher was 5, 7, 2 and 3, respectively, which suggests that the type 2 was the largest factor group. The eigen values of 4 types signifying the size of each variance were 10.3706, 2.8943, 1.8922, and 1.5278, respectively. As a result of this analysis, a total of 4 types were classified. Type 1 were stringent people who loved musicals, type 2 loved musicals much, type 2 enjoyed culture and type 4 were family-oriented. Namely, each type had their own characteristics. Besides, various analyses were conducted: analysis of conforming items, analysis of differences between two types, comparative analysis of conformity to other types. Above all, as indicated in the final analysis, audience''s responses to children''s musical performances were mostly positive, and therefore, it was deemed necessary to plan the musical performance culture in a scientific, reasonable and systematic way. All in all, this study which used 'Q' methodology to analyze audience''s subjective decisions to view children''s musical performances may be useful for every area based on ego schema: public opinion, attitude, group, role, culture, socialization, decision making, propaganda, value, belief, personality, communication, literature, image, idea, etc. Merely, it is hoped that this study will be followed up by future studies using multi-faceted methodological approaches and diverse and systematic ways. For this study, the qualitative 'Q' methodology (scale of subjectivity) was used instead of the conventional 'R' methodology (questionnaire survey and its analysis). For this study, the interview method was also used for a significant analysis. However, this study was limited in that it surveyed the subjectivity of people''s decision to view children''s musical performances. So, it is hoped that future studies will combine 'R' methodology with multi-faceted analysis and extensive literature review. In this regard, it is hoped that this study will be followed up by future studies which will measure artistic, educational and cultural effects of audience''s responses and review their satisfaction dissatisfaction factors before and after viewing children''s musical performances. Keywords: children''s music performance, intention to view, Q-statements, research into subjectivity, Q-methodology, QUANL program

대중음악공연의 빛 연출 연구

정혜정 연세대학교 커뮤니케이션대학원 2017 국내석사

Although the history of live pop music performances is relatively short, the recent pace of technological innovations utilized in live concerts has been faster than any other periods. Performance directors and stage lighting directors altogether take much interest in the application of new technologies to fulfill artistic concepts of musicians and to satisfy audiences that come to listen to and see the music. The alarmingly rapid pace of technological innovations has been forcing the development of newer technologies faster than ever in the field of stage lighting, visual presentation and stage apparatus in general. As a result, it becomes more and more blurry between artistic perspectives and technological advantages as criteria for evaluation and definition of ‘good direction’. In other words, now is the time that stage lighting directors need to develop their ability to determine whether to make broad use of lighting resources or limit them based on their own solid criteria. First of all, this research surveys the ideas of handling light contemplated over by artists in different times and various fields of arts. The study also examines how light was recognized and applied in space of stages. Plus it arranges the perspectives and flows of light among stage directors who dedicated themselves to the aesthetics of lighting direction. Furthermore, this review suggests several points that stage lighting directors should examine themselves, which is to establish their own perspectives and interpretation criteria on directing for stage lighting in live pop music performances. In the late 19th century and the early 20th, many directors tried to understand the relation of stage and light with their own perspectives in the middle of the technological shifts that transformed the perception of stage and light. Adolphe Appia(1862-1928) was a director who proposed and theorized his own ideas about lighting as a tool for visualizing music in the stage space. He had influences on many stage artists through his writings and designs. I argue that Appia’s idea laid the cornerstone of lighting aesthetic and today’s stage lighting design strategies in live pop music performances. There are, of course, some elements in his aesthetics of stage lighting directions which are difficult to apply to contemporary performances. It is because his theory was suggested over 100 years ago, during the period when the stage lighting technology was not well developed. So his idea of light and lighting directions could only be understood theoretically in imagination but could not be experimented in real space as practical tool. Despite many technological efforts to handle light, there were a lot more limitations on light designing, such as securing the stage with high brightness, or using safe and controllable stage lighting. His theory, however, holds greater significance as an ideal one rather than a practical one. Being influenced by the stage aesthetics of Appia, Lee Simonson(1888-1967), an American stage designer, sorted out the aesthetics of Appia into four criteria. This criteria include “Light as the Scene-Painter”, “Light as Interpreter”, “Light Orchestrated”, and “Light as Scene-Builder”. Unlike drama or other stage productions, live pop music performances haven't been around long enough to establish any distinctive stylistic trends or traditions. Therefore, Simonson's interpretation has huge implication as criteria for the perspectives and interpretations of stage lighting design for live pop music performances. I believe that lighting technology and show production industries have evolved since Appia’s aesthetics of stage direction and Simonson’s interpretations. In the domain of live pop music performances, stage lighting design has been understood from the functional and technological perspectives for the most part. Since the utilization of technology is closely related to the commercial aspect of popular music, the stage lighting directors should be careful not to miss any flows within the criteria of their own directing and must take interest in the usage of better tools and their development to offer the audience newer audio-visual experiences. They should also be aware of the fact that technological development has broadened the scope of options to express light in their own ways so that they can make their intention much clearer. The present study holds its significance as a process of examining stage lighting directors in contemporary live pop music performances as “artists to direct and handle light” by reinterpreting Simonson’s criteria for Appia’s aesthetics. It is also important to note that this research introduces them as perfect examples that provide lighting directors with a few solutions for good direction so they can solidify their own perspectives of directing for stage lighting and try to apply their aesthetics to contemporary live pop music performances. By proposing the analytical foundation of directing for stage lighting in live pop music performances based on aesthetic criteria rather than just focusing on functional and technological aspects, this study hopes to inspire stage lighting directors of live pop music performances to re-evaluate apparatus of all kinds of visual objectives as means of lighting. Further, this study encourages them to recognize the importance of attitude on directing light and utilizing a broad range of lighting resources and technologies with their own artistic perspectives on direction beyond conventional concept and practices of stage lighting. 대중음악공연의 역사는 길지 않지만, 그 기술은 어느 시대보다도 빠른 발전을 거듭하고 있다. 또한, 음악을 듣고 보러 찾아온 관객들에게 대중음악 아티스트의 콘셉트에 맞게 새로운 기술을 적용하고 빛을 더 숙련되고 멋있게 보여주고자 하는 공연 연출가와 조명 연출가의 관심도 대단하다. 너무나 빠른 기술의 발전 속에 조명 기술의 발전도 그 어느 때보다 대단하지만, 다양한 영상장비들과 각종 무대 장치물 등의 발전도 그에 못지않게 빠르게 진행되면서 나날이 복잡해지고 전문화되어가고 있어 좋은 연출이라는 것이 예술적인지 기술적인지 그 판단의 기준 또한 점점 모호해 지고 있다. 다시 말해, 빛 연출에 대한 자신만의 기준을 확고하게 가지고 많은 광원과 다양한 기술을 폭넓게 활용할 수 있는 혹은 버릴 수 있는 능력이 필요한 시대인 것이다. 본 연구는, 비교적 다른 분야에 비해 역사가 짧은 대중음악공연의 빛 연출에 대하여 생각해 보기 전에, 먼저 빛을 인식하고 이미지화했던 여러 분야의 예술적 흐름과 그에 대한 관점들을 살펴봄으로써, 시대와 분야가 달라도 빛을 다루는 사람들이 고민했던 생각들을 점검한다. 그리고 특히 무대라는 공간에서 빛을 어떻게 인식하기 시작했으며 어떻게 사용해 왔는지에 대하여 살펴보고, 그중에서도 진지하게 무대 공간에서의 빛에 대하여 연출 미학적으로 고민했던 무대 연출가들의 빛에 대한 관점과 그 흐름을 정리해보면서, 대중음악공연의 빛 연출에 대한 자신만의 관점과 해석 기준을 갖기 위해 점검해 보아야 할 생각들을 살펴볼 것이다. 19세기 말에서 20세기 초는 무대와 빛에 대한 인식의 변화와 빛을 다루는 기술의 변화 속에서 무대 공간과 빛에 대해 자신만의 관점으로 접근하는 많은 연출가가 등장하였던 시기이다. 그중에서도 무대 위 음악을 시각화하는 조명에 대한 생각을 이론화하고 제안해 나갔던 연출가 아돌프 아피아(Adolphe Appia, 1862-1928)는, 자신의 글과 디자인 등을 통해 이후 많은 무대예술가에게 영향을 주었으며, 대중음악공연에서 빛을 다루는 이 시대의 조명 디자이너들에게도 생각의 바탕을 제공할 수 있는 미학적 이념을 제시하였다. 물론, 그의 빛 연출 미학은 이미 100여 년 전의 이론으로 현재의 대중음악공연에 그대로 적용하기에는 무리가 있다. 아직 무대 공간에서의 빛이 개념적으로만 존재하였던 시기의 이론으로서, 빛을 사용하려는 여러 기술적 노력에도 불구하고 아직 현재와 같이 밝기가 확보되고 안전하며 통제 가능한 빛을 사용할 수 없었던 시대적 한계로 인해 실제로 적용될 수 없었지만, 현실적이기보다 이상적으로 제시된 이론으로서 더 의미를 가지기 때문이다. 오히려 아피아의 무대 미학에서 영향을 받아 미국의 무대 디자이너 리 시몬슨(Lee Simonson, 1888-1967)이 정리한, 아피아의 조명 미학에 대한 4가지 기준-‘채색자’, ‘해석자’, ‘지휘자’, ‘장면제작자’로서의 조명-을 통한 해석은 그 역사가 길지 않고 무대나 연극의 역사와 같이 사조라는 것이 존재하지 않는 대중음악공연에 있어서 빛을 연출하는 관점과 그에 대한 해석 기준을 마련해 보기 위한 과정으로서 시사하는 바가 크다. 이러한 아피아의 무대 연출 미학 제시와 시몬슨의 해석 이후, 빛 표현 기술과 공연 제작 방식은 100여 년 동안 엄청나게 빠른 발전을 거듭했고, 공연예술 분야에서 등장한 지 그리 오래되지 않은 대중음악공연의 빛 연출은 상당 부분 기능적, 기술적인 관점에서 해석되어 왔다. 음악을 듣고 보기 위하여 온 관객들에게 더 새로운 경험을 가능하게 하는 기술의 활용은 대중음악의 상업적인 속성과도 밀접한 관계가 있으므로 자신의 빛 연출에 대한 기준 안에서 그 흐름을 놓치지 않고 더 좋은 도구의 사용과 그 발전을 위해 관심을 가져야 할 부분임에는 틀림이 없으며, 또한 자신의 빛 표현 도구에 대한 선택지를 늘리고 자신의 연출 의도를 더 확실하게 하는 방법이기도 하다는 것을 인식하고 있어야 하는 것도 사실이다. 그러한 관심과 태도를 바탕으로, 대중음악공연의 빛 연출에 대한 자신만의 관점을 확고히 하며 좋은 연출에 대한 해석 기준을 마련해 보기 위하여, 아피아의 빛 연출 미학 해석을 위해 제시된 시몬슨의 4가지 기준들을 현재의 대중음악공연에 맞게 재해석해 보고, 현대 대중음악공연 조명 연출가들을 그 재해석된 기준을 통해 ‘빛’을 ‘연출’하고 ‘사용’하는 ‘예술가’로서 살펴보는 것은 그 과정으로서 의의가 있다. 기능적, 기술적으로만 접근하기 쉬운 대중음악공연의 빛 연출을 위와 같은 미학적 접근 기준을 통하여 분석해 보는 과정인 본 연구를 통해, 대중음악공연의 빛 연출가들이 모든 시각적 목적을 가진 장치들을 빛으로 확장시켜 그 빛을 연출하는 예술가로서 자신만의 연출 관을 가지고 기존의 무대조명 개념을 넘어 다양한 광원과 기술에 접근하는 태도의 중요성을 재고해 볼 수 있었으면 한다.

The Relationships Among Music Performance Anxiety, Personality Traits, and Self-Regulated Learning in Music Practice of Adolescent Performers in Taiwan

Juan, Hsuan-Wen Sharon Indiana University ProQuest Dissertations & Theses 2025 해외박사(DDOD)

The purpose of this study was to examine the relationships among music performance anxiety (MPA), self-regulated learning in music (SLM), self-regulated learning in music performance anxiety (SL-MPA), and the Big Five personality traits in adolescent musicians. A secondary purpose was to investigate whether MPA varied according to self-identified gender, age, and performance experience. Participants consisted of 850 students from 26 public secondary schools in Taiwan enrolled in music-specialized programs. Data were collected through a paper-based questionnaire that included demographic questions and four measures: (a) the Music Performance Anxiety Inventory for Adolescents (MPAI-A), (b) the Self-Regulated Learning in Music Questionnaire (SLMQ), (c) the Big Five Inventory (BFI), and (d) a researcher-developed measure, the Self-Regulated Learning in Music Performance Anxiety (SL-MPA), along with three open-ended questions on MPA management strategies. Confirmatory factor analysis supported the construct validity of all four measures.Descriptive analyses revealed generally moderate to high levels of music performance anxiety (MPA) on average, with a relatively large degree of variability (M = 4.25, SD = 1.45). The average score for self-regulated learning in music (SLM) was moderate (M = 3.27, SD = .75), while the SL-MPA score was slightly higher (M = 3.38, SD = .83). Among the Big Five personality traits, the tendency of Agreeableness had the highest average score (M = 3.64), whereas Conscientiousness had the lowest (M = 3.03). Structural equation modeling (SEM) showed that SLM, gender, age, and performance experience significantly predicted MPA. Specifically, participants who demonstrated higher levels of SLM, identified as male, were younger in age, and had more performance experience tended to exhibit lower levels of MPA. Additionally, Conscientiousness and Openness significantly predicted SLM, with their effects on MPA mediated through SLM. In other words, participants with stronger tendencies in Conscientiousness or Openness tended to engage more in self-regulated learning, which was associated with lower MPA. However, SL-MPA was not a significant predictor of MPA in the SEM model. Analysis of open-ended responses revealed several strategies for managing anxiety not fully captured by the SL-MPA scale, suggesting directions for future refinement.These findings contribute to the understanding of how self-regulated learning behaviors and personality traits are linked to music performance anxiety in adolescent musicians and offer practical implications for building educational environments that foster both MPA regulation and musical growth.

Conceptualizing Expressive Musical Performance: A Grounded Theory of Performance, Process, and Pedagogy

Amin, Anjni Hiral Northwestern University ProQuest Dissertations & T 2025 해외박사(DDOD)

Music has a distinctly magical quality that draws composers, performers, scholars, and listeners to the art form. Musical experiences consist of expressive and ineffable moments, convey meaning, and elicit affective responses in the listener. The performance of score-based music involves the translation of a written composition to auditory event - and it is this interpretation that makes music magical. It is the performer who ultimately breathes life into the music, subtly nuancing and individuating their interpretation, distinguishing it from other performances.This dissertation argues that primarily pedagogical interactions, in addition to other influential stakeholders and sources of knowledge, give rise to expressive performance skills in higher education. Defining expressive musical performance as that aspect of musical performance dealing with potential, preparation, and production, I present a model of performers' learning trajectories comprised of four stages: pre-preparation, technical preparation, expressive preparation, and production. Through participant interviews and video observations of lessons, I describe how student performers approach a new composition to prepare for performance with a specific sound or auditory goal in mind before they work to get the music 'under their fingers'. Once basic pitches and rhythms have been learned, performers begin to consciously and deliberately integrate expressive skills. The technical preparation and expressive preparation stages, however, are not freestanding milestones, but stages that inform one another, resulting in an iterative feedback loop that spans the majority of the learning trajectory, before performers progress on to the production stage. This learning trajectory is overseen by the performer-pedagogue, who guides the student's exploration of the music and plays a vital role in shaping the student's interpretation.The core of this dissertation closely examines the pedagogical interactions themselves through grounding, or the process by which participants in an interaction arrive at a mutual understanding (Clark & Brennan, 1991). I apply Clark & Brennan's presentation-acceptance phase model for achieving grounding, and in doing so, demonstrate how such a model must expand to address multi-modal means of communication. Through this exercise, I highlight the ways in which performer-pedagogues and students negotiate and achieve grounding by contributing knowledge to the pair's shared workspace. While much of the grounding process in the studio relies on verbal communication, in this setting, grounding is most often successful and expedited when verbal commentary is combined with aural modeling on the instrument, singing, or gesture.After establishing an overview of the performer's process towards an expressive performance - as well as the ways in which performer-pedagogues guide and shape their students' expressive conceptualizations through detailed study of their interactions - I present evidence from a score study task to identify the structural features of the music that afford or support interpretive decisions performers make. I argue that in preparing a work for performance, performers engage in analysis largely through segmentation, defining segment boundaries through association and disjunction (Hanninen, 2001). I conclude this dissertation by providing my own reflections on music theory pedagogy, taking into account the analytical activities that performers regularly engage with, and by contemplating ways in which our work in the music theory classroom can "infuse and permeate all aspects of a college music curriculum" (Rogers, 2004).

Twenty-First Century Women Composers of Philadelphia: An Analysis of Individualistic Expression of Collaborative Art Song as Demonstrated in Andrea Clearfield's a Reminiscence Sing and Jennifer Higdon's Love Sweet

Willson DeNolfo, Lisa Temple University ProQuest Dissertations & Theses 2023 해외박사(DDOD)

Philadelphia has been a renowned center for musical development since the American Revolution. The city continues to produce influential composers who elevate the cultural tapestry of American art music. Women composers in Philadelphia have been writing innovative vocal music since the eighteenth century, including patriotic songs, children's songs, folk songs, parlor songs, musical farces, operettas, operas, cantatas, choral music, sacred music, art songs, and chamber music. The introduction of this monograph illuminates the lineage of a selected group of Philadelphian women composers. This includes biographical sketches, musical examples of their works, and a summary of their contributions, giving an inspiring account of their outstanding talent.An increasing number of women composers are producing large-scale vocal works including orchestral choral works and operas. Art songs, however, accompanied by piano or in collaboration with a variety of instruments, continue to be an integral part of the output of contemporary women composers. Solo vocal art song collaboration is popular, and rightly so, for several reasons. The result of using a combination of instruments not only creates multi-textural sonorities, but also allows for "conversation" among the different performers. Secondly, composers can assign an instrument to be played in a particular fashion to create a specific atmosphere. Thirdly, art song is an intimate medium that does not require a large performance venue, so the cost is minimal. Also, there is a theatrical element in ensemble art song that pleases the audience as they experience the collaboration between the musicians as they interact with one another. Finally, in today's technologically advanced society there are more opportunities for ways of expression through various kinds of multimedia.Internationally acclaimed Philadelphia composer Andrea Clearfield has composed a large body of vocal works. She has written many arrangements of art song for a variety of voice types in collaboration with selected instruments. Her chamber work, A reminiscence sing for soprano, clarinet, and piano, is set to Walt Whitman's "Out of the Cradle Endlessly Rocking" from his collection of twelve poems, Leaves of Grass (1855). The musical setting captures the essence of the American Romantic poet Walt Whitman, whose works celebrate nature, unity, and humanity. Through musical and textual analysis, I aim to offer performance goals for the singer. These include maintaining keen intonation while navigating dissonant open intervals, communication with the clarinetist throughout the work, and using Clearfield's organized architecture of form to the utmost advantage to reveal the complex symbolism of Whitman's poem.Pulitzer Prize-winning and three-time Grammy winner Jennifer Higdon composes music that creates a kaleidoscope of textures. Her chamber work for soprano, violin, cello, and piano, Love Sweet, comprises five poems by Imagist poet Amy Lowell. I intend to reveal how Higdon's skillful use of prosody creates the images that Lowell expresses in her poetry. This skill ultimately aids the singer in successfully relaying the text. Higdon uses extended jazz harmonies, strong rhythmic motifs, and dampened string technique in the piano to provide the cycle's cohesiveness.The city of Philadelphia has a rich musical heritage, to which women composers have contributed a great deal. As new vocal works composed by Philadelphia women continue to be an integral part of the mainstream classical repertoire, we must invest time and scholarship in understanding, performing, and teaching these new works. By studying the lineage of women composers in Philadelphia, one can learn about the significance of the city's cultural landscape and discover the opportunities available to young composers. Through careful musical and poetic analysis, focusing on performance and interpretive strategies for collaborative art songs by Andrea Clearfield and Jennifer Higdon, I aim to prove these works accessible, enlightening, and fulfilling for performers and audiences alike.

Improving Conditional Generation of Musical Components: Focusing on Chord and Expression

유승연 서울대학교 대학원 2023 국내박사

Conditional generation of musical components (CGMC) creates a part of music based on partial musical components such as melody or chord. CGMC is beneficial for discovering complex relationships among musical attributes. It can also assist non-experts who face difficulties in making music. However, recent studies for CGMC are still facing two challenges in terms of generation quality and model controllability. First, the structure of the generated music is not robust. Second, only limited ranges of musical factors and tasks have been examined as targets for flexible control of generation. In this thesis, we aim to mitigate these two challenges to improve the CGMC systems. For musical structure, we focus on intuitive modeling of musical hierarchy to help the model explicitly learn musically meaningful dependency. To this end, we utilize alignment paths between the raw music data and the musical units such as notes or chords. For musical creativity, we facilitate smooth control of novel musical attributes using latent representations. We attempt to achieve disentangled representations of the intended factors by regularizing them with data-driven inductive bias. This thesis verifies the proposed approaches particularly in two representative CGMC tasks, melody harmonization and expressive performance rendering. A variety of experimental results show the possibility of the proposed approaches to expand musical creativity under stable generation quality. 음악적 요소를 조건부 생성하는 분야인 CGMC는 멜로디나 화음과 같은 음악의 일부분을 기반으로 나머지 부분을 생성하는 것을 목표로 한다. 이 분야는 음악적 요소 간 복잡한 관계를 탐구하는 데 용이하고, 음악을 만드는 데 어려움을 겪는 비전문가들을 도울 수 있다. 최근 연구들은 딥러닝 기술을 활용하여 CGMC 시스템의 성능을 높여왔다. 하지만, 이러한 연구들에는 아직 생성 품질과 제어가능성 측면에서 두 가지의 한계점이 있다. 먼저, 생성된 음악의 음악적 구조가 명확하지 않다. 또한, 아직 좁은 범위의 음악적 요소 및 테스크만이 유연한 제어의 대상으로서 탐구되었다. 이에 본 학위논문에서는 CGMC의 개선을 위해 위 두 가지의 한계점을 해결하고자 한다. 첫 번째로, 음악 구조를 이루는 음악적 위계를 직관적으로 모델링하는 데 집중하고자 한다. 본래 데이터와 음, 화음과 같은 음악적 단위 간 정렬 경로를 사용하여 모델이 음악적으로 의미있는 종속성을 명확하게 배울 수 있도록 한다. 두 번째로, 잠재 표상을 활용하여 새로운 음악적 요소들을 유연하게 제어하고자 한다. 특히 잠재 표상이 의도된 요소에 대해 풀리도록 훈련하기 위해서 비지도 혹은 자가지도 학습 프레임워크을 사용하여 잠재 표상을 제한하도록 한다. 본 학위논문에서는 CGMC 분야의 대표적인 두 테스크인 멜로디 하모나이제이션 및 표현적 연주 렌더링 테스크에 대해 위의 두 가지 방법론을 검증한다. 다양한 실험적 결과들을 통해 제안한 방법론이 CGMC 시스템의 음악적 창의성을 안정적인 생성 품질로 확장할 수 있다는 가능성을 시사한다.

Musical Visuality: Embodying Meter and Overcoming Noise in the Marching Arts

Bowden, Sara Ann Northwestern University ProQuest Dissertations & T 2024 해외박사(DDOD)

This dissertation takes the marching arts as a venue for answering what it means for music to be visual. The marching arts are a category of fine arts-adjacent, movement-based youth activities that include marching band, drum corps, color guard, winter guard, and indoor percussion. North American marching arts ensembles program musically and choreographically challenging competitive performances in yearly cycles determined by time of year (e.g., fall, winter, summer) and governing circuit type (e.g., WGI, DCI, DCA). I leverage my dual habitation as a marching arts alumni and scholar to critically examine musicalized joint movement at the nexus of possibility, promise, and persistence that only the marching arts inhabit. In this dissertation, I show that the marching arts lexicon developed in the past ten years not only illuminates joint action in ensemble performance, but also offers a theory of musicality as visuality.In 2020, the Winter Guard International (WGI) general effect adjudication guidelines introduced the concept of "musical visuality." In moments of musical visuality, adjudicators assess the efficacy of performance when the design depends predominantly on visual elements, where music is only a background element or when silence is the designer's tool of choice. Foregrounding musical visuality disentangles visual and musical contributions to a group's design and performance, and the unlinking of compositional elements previously understood as isomorphic problematizes existing frameworks for assessing formal and semantic audiovisual congruence (Iwamiya 2013). Musical visuality may be deconstructed through the lens of embodiment and joint gesture. Music can be understood through its visuality.Musical Visuality contributes to a growing body of theoretical work on embodied meter by thinking through musicalized visual elements as a means for ensemble coordination and audience engagement. Marching arts performers receive extensive training centered around consistently replicating streamlined, intersubjective entrainment. Rehearsals and pedagogical approaches geared toward pulse maintenance uniquely affect performers' sensitivity to the triangulation of listening, hearing, and attention. Performers are trained to toggle between strategies for pulse maintenance (e.g., watching the conductor, watching battery performers' feet, listening for nearby vocalizations of the pulse, and relying on an established embodied meter at the 8-measure phrase level) using different bodily articulators (feet and hands). In the marching arts, embodied meter creates a framework for managing time. Drawing on theories of musical embodiment (Cox 2016, Simpson-Litke 2021, Hudson 2022), joint action (Matthews et al. 2018, Noble 2018), and choreographic musicality (Leaman 2022), I examine how visual design contributes a unique element that is not available in sound in the marching arts. Beyond the football field, this project provides new insights concerning the nature of joint musical and visual action.

Shaping Sound: A Pianist's Guide to the Journey Through the Lifecycle of Notes and Musical Connection : Moldando o Som: Um Guia do Pianista para a Jornada Atraves do Ciclo de Vida das Notas e da Conexao Musical

de Oliveira, Johnson Gouvea ProQuest Dissertations & Theses University of Wash 2025 해외박사(DDOD)

This dissertation examines the pianist's engagement with sound through a five-stage "lifecycle of a note": intention, birth, life, death, and memory. By framing each note as an evolving event-from mental conception to physical attack, audible existence, conclusion, and recollection-the dissertation sheds new light on how pianists can refine both technical facility and expressive depth.Central to this inquiry is the primacy of the ear. While the fingers and arms are indispensable for producing sound, it is ultimately the ear that shapes artistic decision-making. Drawing on insights from pedagogues and theorists such as Boris Berman, Seymour Bernstein, Gyorgy Sandor, Alfred Cortot, and Heinrich Schenker, the study argues that developing a refined awareness of each note's "lifecycle" leads to improvements in tone production, dynamic control, and musical interpretation. Further, it explores strategies to enhance voicing in chords, manage nuanced pedal usage, and employ various touch techniques (legato, staccato, "in" touch, "out" touch) for clearer articulation.The concept of memory, in particular, emerges as a connecting force, bridging chords, phrases, and entire sections of a piece. By conceptualizing the internal relationships between notes-whether shaped by harmonic function or contrapuntal lines-pianists can create more cohesive performances. Ultimately, Shaping Sound: A Pianist's Guide to the Journey Through the Lifecycle of Notes and Musical Connection seeks to integrate technical exercises with aural perception, ensuring that every note is approached with deliberate listening and clear intent. In doing so, it aspires to cultivate a heightened musical consciousness, where technique and interpretation serve a unified artistic vision. sta tese examina o envolvimento do pianista com o som por meio de um "ciclo de vida da nota" em cinco estagios: intencao, nascimento, vida, morte e memoria. Ao enquadrar cada nota como um evento em evolucao - desde a concepcao mental ate o ataque fisico, a existencia audivel, o encerramento e a recordacao - a dissertacao lanca uma nova luz sobre como pianistas podem refinar tanto a fluencia tecnica quanto a profundidade expressiva.No cerne dessa investigacao esta a primazia do ouvido. Embora os dedos e os bracos sejam indispensaveis para a producao do som, e, em ultima instancia, o ouvido que molda as decisoes artisticas. Com base em insights de pedagogos e teoricos como Boris Berman, Seymour Bernstein, Gyorgy Sandor, Alfred Cortot e Heinrich Schenker, o estudo defende que o desenvolvimento de uma consciencia refinada do "ciclo de vida" de cada nota leva a melhorias na producao do timbre, no controle dinamico e na interpretacao musical. Alem disso, explora estrategias para aprimorar a conducao das vozes nos acordes, administrar o uso sutil do pedal e empregar diversas tecnicas de toque (legato, staccato, toque "para dentro", toque "para fora") para uma articulacao mais clara.O conceito de memoria, em particular, surge como uma forca de conexao, criando pontes entre acordes, frases e secoes inteiras de uma peca. Ao conceituar as relacoes internas entre as notas - sejam elas moldadas pela funcao harmonica ou por linhas contrapontisticas - os pianistas podem criar performances mais coesas. Por fim, Moldando o Som: Um Guia do Pianista para a Jornada Atraves do Ciclo de Vida das Notas e da Conexao Musical busca integrar exercicios tecnicos a percepcao auditiva, garantindo que cada nota seja abordada com escuta atenta e intencao clara. Ao fazer isso, a obra aspira cultivar uma consciencia musical elevada, na qual tecnica e interpretacao sirvam a uma visao artistica unificada.