일렉트로닉 댄스 뮤직(EDM)의 쾌락의 의미에 대한 문화연구적 해석: 손튼의 1980-90년대 영국 레이브 및 클럽 컬쳐 연구를 중심으로

이수완 ( Lee Suwan ) 한양대학교 음악연구소 2022 音樂論壇 Vol.48 No.-

댄스 뮤직은 금지와 매혹이란 상반된 평가 속에 존재했다. 댄스 음악 탄압의 역사는 그것이 강렬한 신체적 쾌락을 주고, 외부자들에게는 두려움과 혐오감을 준다는 사실을 보여준다. 이것을 이해하기 위해서는 음악에 대한 분석과 함께 음악 외적인 요인에 대한 분석이 요구된다. EDM은 규칙적 비트와 샘플 위에 다양한 텍스처의 음향이 지속되는 구조로 몰형식의 무한함, 혹은 가공의 공간감을 창조하고 몰입을 강화해 장시간 춤을 출 수 있게 만든다. 하지만 EDM의 쾌락은 음악뿐 아니라 춤과 대중들의 집단모임(클럽과 레이브), 약물이 결합되어 완성된다. 약물의 과용과 집단행동은 음악적 체험을 법적 제재 대상으로 만들었다. 1980-90년대 영국 레이브 및 클럽 문화를 청소년 하위문화와 연관해 탐구한 손튼은 다음과 같이 음악적 의미를 해석하였다. 1. 음악적 진정성(authenticity) 획득. 댄스 음악은 음악비평의 가치개념인 진정성을 라이브 음악 연주 및 연주자에서 대량생산의 수단으로 여겨졌던 레코드로 옮겼다. 이를 가속화한 것이 댄스클럽에서의 레코드 사용이었다. DJ는 춤 집단의 상호관계, 독특한 분위기를 조성하고 군중의 에너지가 고조되어 클라이막스에 이르는 텐션을 창조하는 음악가로 인식되었다. 2. 구별이 주는 쾌락. 클럽은 세대, 계급뿐 아니라 세분화된 취미집단, 인종, 섹슈얼리티가 구별되는 집단 문화를 형성하는 곳으로, 구별이 쾌락을 강화한다. 클러버는 스스로를 주류와 구별된 마이너리티로 규정하고, 다수 대중과 주류 미디어에 대립하며 진정성을 확인한다. 하지만 손튼은 클러버들이 정체성 확립에 사용한 주류와 언더그라운드의 이분법이 허위적이라고 하면서 ‘하위문화 이데올로기’가 미디어와의 다양한 공생관계 속에서 형성된다고 주장했다. 하위집단은 클럽 문화 속에서 취미를 중심으로 한 구별 행위를 통해 쾌락을 얻지만 하위문화를 대립이나 저항의 성격을 지닌 대안적 활동으로 본 기존 문화연구 전통과 구별되며 이는 음악적 생산과 소비양식의 변화에 기인한 것이다. Dance music existed in conflicting evaluations of prohibition and fascination. The history of suppression of dance music shows that dance music gives intense physical pleasure and fear and disgust to outsiders. EDM is a structure in which various textures’ acoustic fabrics are overlapped on a mechanical beat and sample for a long time, creating a sense of infinite mold or processing space, and strengthening immersion to dance. However, the fascination of EDM stems not only from music, but also from dance and mass gatherings of the youth (rave), and a drug called Ecstasy was completed. Rave was conducted in secret around the same age group and taste. Ecstasy was considered a pathological phenomenon (overuse and disorder), and was subject to legal sanctions. Thornton, who explored English club culture in the 1980s and 1990s, asked why clubs and raves were key in subculture and argued that: 1 . Transformation of musical authenticity: Dance music began to assign an object of authenticity, a concept of value in music criticism, to records that were considered a means of mass production by live music performers and performers. It was the use of records in dance clubs that accelerated this change. DJ was recognized as a musician who created the tension that reached the climax due to the mutual relationship of the dance group, the unique atmosphere, and the heightened energy of the crowd. 2. Pleasure of distinction: Clubs form a group culture in which not only generations and classes, but also subdivided musical taste, races, and sexuality are distinguished, and distinction strengthens pleasure. Clubbers define themselves as minorities distinct from mainstream, and confront the majority of the public and media. However, Thornton calls the dichotomy between mainstream and underground used by clubber to establish identity false and called it a “subcultural ideology”. Thornton argues that club groups are not naturally formed, but are formed in symbiotic relationships with various media. The goal of the subgroup is to gain pleasure through the practice of club culture. This is a step forward from the existing cultural research tradition that viewed subculture as an alternative activity with the characteristics of confrontation or resistance.

베르디의 초기 오페라 < 맥베스 >의 연구: 연극의 오페라 변용을 중심으로

이수완 ( Suwan Lee ) (사)음악사연구회 2015 음악사연구 Vol.4 No.-

베르디가 처음으로 셰익스피어의 작품 중 선택한 < 맥베스 >는 극과 음악을 완전히 결합시키는 시도를 오페라 속에서 실현하려는 작품이다. 본고는 베르디가 연극작품을 오페라 작품으로 만들어 가는 과정에 주목하여 오페라 < 맥베스 >를 고찰하였다. 맥베스는 부당한 권력을 극한까지 추구한 결코 용서받을 수 없는 절대적인 악인임에도, 청중들에게 연민을 일으키는 복합적 존재로 인간 존재 자체가 숙명적으로 안고 있는 모순과 고뇌를 대표하고 있다. 베르디는 맥베스와 맥베스 부인이라는 뚜렷한 캐릭터, 빠른 사건 진행과 강렬한 감정의 변화를 원작 < 맥베스 >에서 발견하고 오페라로 각색하였다. 이 과정에서 그는 원작의 인물을 더욱 생생하게 만들면서 여러 음악적 난점을 해결해야 했다. I그는 원작의 많은 장과 많은 배역들을 과감하게 정리하였다. 가수별로 음역을 구분하였고, 맥베스 부부에게 아리아를 집중하고 다른 역할들에게 다양한 오페라적 성악부를 할당하였다. 이런 음악적 구상은 극의 역동성과 단순함을 부각시키고 원작에서 등장하는 인물들의 심리를 분명하게 표현하기 위해서였다. 주인공 부부의 극적 성격을 유지하기 위해 오페라의 관행을 버렸고(배역의 관행, 아름다운 여성적 목소리에 대한 벨칸토적 관습) 작품을 제작하는 과정에서 구체적인 연극적 요구들을 하였다. 원작의 초현실적인 부분에 대해서 화성적 리듬적 수단으로 공포감을 표현하고, 코러스를 강화하여 분위기를 강화했다. 베르디의 < 맥베스 >는 그의 다른 걸작들에 비해 큰 인기를 끌지 않았으며, 몇 가지 비판도 받고 있지만, 극적인 진실과 음악적인 양식을 조화시킨 주목할 만한 초기 작품으로 평가할 수 있다. Verdi`s opera Macbeth is the first piece of W. Shakespeare`s dramas which combines drama and music successfully. This article is an research of the opera Macbeth focusing on the process of adapting a theatric piece into an opera. Even though Macbeth is an absolute evil who cannot be forgiven for pursuing unfair political power, he arouses sympathy among the audience; representing the contradiction and agony that human being fatefully possesses. Verdi catched Macbeth and Mrs. Macbeth`s unique character, rapid development of events, and intense change of emotions from the Shakespearean drama Macbeth and then metamorphosed it to an opera. In this process, he had to face numerous musical difficulties while bringing characters into life. For solving these difficulties, he discarded many chapters and characters from the original. He categorized opera singers into voice ranges, and gave most of the arias to the Macbeth couple to show key dramatic moment of play. The rest of the characters were given other components of opera music. This musical idea was planned to magnify the dynamic and simplicity of the drama and emphasis characters` psychological description from the original vividly. In order to keep the dramatic nature of leading roles, Mr and Mrs. Macbeth, Verdi throw away opera`s practice such as practice of casting and Bel canto singing style. Opera singers were also asked to meet specific theatrical demands in making the opera. For the unrealistic parts of the original drama, he used harmonic rhythm to create fear in the air and he strengthened chorus to deepen the mystic mood. Opera Macbeth may be criticized and failed to gain popularity than his other masterpieces. However, it should be reviewed as one of Verdi`s valuable early day`s work for portraying dramatic truth within musical components and showing fruitful dramatic and musical unification.

아도르노와 대중음악

이수완(Suwan Lee) 낭만음악사 2006 낭만음악 Vol.18 No.3

이 글은 대중음악에 대한 비판론을 대표하는 T.아도르노 대중음악론을 간략히 소개하는 것을 목적으로 한다. 그의 대중음악론은 전체 음악미학 구도에서 제기되었다. 하지만 특별히 문화산업, 진지한 음악과 가벼운 음악, 음악사회학과 같은 주요한 개념은 대중음악에 대한 비판의 맥락과 의미 그리고 과제를 비교적 명료하게 보여준다. 한편 그의 대중음악비판의 내용을 이루고 있는 주요 개념들 즉 재료의 표준화와 사이비 개성화, 플러깅, 분산적 청취와 음악의 사회 심리적 기능, 청중의 반항은 대중음악의 내재적 특성들을 기초로 한 것으로, 그의 음악사회학의 비판적 특성을 잘 보여준다. 이러한 것들을 통해 그는 대중음악은 음악내적으로도 문화산업의 상품적 특성을 가지고 있으며, 이로 인해 청자들의 청취의 퇴행을 초래하고 비판의식을 마비시킴으로써 이데올로기에 가까운 기능을 담당한다고 비판한다. 문화연구 및 대중음악연구의 토대가 되어온 그의 이러한 비판적 주장은 이제 그 의미에 대한 적절한 평가를 요구하고 있다. This is the article which introduces Adorno’s theory of popular music, which stands for the critical and optimist view on popular music, focused on the contexts of his popular music aesthetics and his main concepts of popular music theory. To understand his view exactly, we have to know the context of his claim: the culture industry, the division of serious music and light music, the music sociological project. His ‘culture industry’ theory shows that all the cultural productions lost their critical and authentic qualities and ruled by the economical profit principle under monopoly capitalism. As one component of the culture industry, the popular music shares the same characteristics of that. The popular music is the product of musical modernity. In configuration of modern music, separation and confrontation between the serious music and the light music represents the condition of music as a whole. But, on the other hand, their mutual exclusiveness contains their independence. The popular music seems to be the repressed other of modernism. In order to inquire the popular music, Adorno linked the music sociological method to the musical aesthetics. Music sociological research on popular music depends on the key terms such as production, distribution and reception. But his research ultimately aims to reveal the ideological implication of the popular music. So his music sociology becomes the part of the theoretical critique on society. And his music sociology deals with the relationship between the music and society in relation to the musical materials such as musical form. On musical production of the popular music, he points that it is made according to the principle of the ‘standardization’- which means the stereotypical forms and schematic formulae of music- and the ‘pseudo-individualism’- which means distinctive features serving to give novelty to standardized things. The structure of popular music lacks relationship which construct the mutual totality of details and the whole. On musical reproduction of the popular music, he focuses especially on the distribution. The structure of the popular music requires a technique of its own for distribution and he calls it ‘plugging’. It leads listener to get accustomed to being musically ever-equal by the intra and extra musical means. Its ultimate aim is the marketing. On consumption of popular music, he deals with the form of listening, based on the recognition mechanism. The listening of serious music is characterized by an active and structural listening, and needs the concentration and absorption. But the form of listening relating to the popular music is the passive and regressive listening form. It is the culinary and atomic listening which response to the sensuous, partial aspect of music. This listening form corresponds to the two major socio-psychological types of mass behavior toward music such as the rhythmically obedient and emotional response type. It leads music to function as the social cement. In this respect, music functions as ideology: engendering a false consciousness. But he didn’t eliminate any possibility of resistance. Mass’s frenzy for a fashion contains within itself the possibility of fury. But he claims that despite its possibility, it is suppressed by a spite that is directed inward. In the history of the popular music studies, his theory has been the target of attack or critique. Despite of many problems of his theory, his view must be read in the context of history of popular music and modernism. And until now it has important meanings in many debates about popular music’s value which never ends.

상수관로 파손자료를 이용한 파손율 모형화 및 최적교체시기 산정

박수완(Park Suwan),이형석(Lee Hyeong seok) 대한토목학회 2008 대한토목학회 학술대회 Vol.2008 No.10

시뮬레이터 상에서 운전 부주의 추정을 위한 실시간 모니터링 시스템의 구현

박수완(Suwan Park),박윤숙(Yunsuk Park),이태영(Taeyoung Lee),손준우(Joonwoo Son) 한국자동차공학회 2010 한국자동차공학회 학술대회 및 전시회 Vol.2010 No.11

There has been recent interest in an integrated approach to driver safety which focuses on the overlapping and interacting area of the role of driver, vehicle and road environment in driving safety. These studies require various types of driving tests and analysis of driver’s behavior. They need to ensure safety in a research process and to monitor the driver state and surrounding environment by real-time synchronization. To solve these needs, this paper demonstrates an implementation of a real-time monitoring system for estimating driver distraction in a car simulator. Our system alleviates the problem of accidents that may occur in a experiment due to car simulator and enables to make the case for an integrated approach in driver safety due to the synchronized data collection. And it also makes more in-depth study possible for driving distraction by including a driving distraction causing module which generates a cognitive workload and a visual workload. This paper shows collected data when a participant drove and performed a secondary task of a cognitive and visual workload in our system. The results are fairly consistent with previous studies.

스마트 디바이스 기반 유지보수 관리자용 자동화 모델 구축에 관한 연구

박지환,정수완,이서준,송진우,권순욱,Park, Jihwan,Chung, Suwan,Lee, Seojoon,Song, Jinwoo,Kwon, Soonwook 한국건설관리학회 2021 한국건설관리학회 논문집 Vol.22 No.1

지난해 기준 국내 30년이 넘은 노후화 건축물이 37%를 차지하고 있으며, 건물 노후화 수치가 점차적으로 늘어남에 따라, 건물유지보수의 필요성이 대두되고 있다. 건물의 유지보수를 위해서는 많은 작업 주체가 참여하여 업무를 진행한다. 그 중 '유지보수 관리자'의 업무가 가장 큰 비중을 차지한다. 현재 업무를 살펴보면 유지보수 건축물의 이력관리를 도면 혹은 수기로 기록하여 보관하는 방식으로 진행되고 있으며, 해당 자료를 재 열람하기 위해서는 많은 시간이 소모된다. 이에 본 연구에서는 작업자의 유지관리 업무 편의성 향상과 이력관리를 최적화 하기위해 기존 유지보수 프로세스를 파악하고, 분석하여 문제점을 도출하고 스마트 디바이스 기반의 자동화 모델을 구축하였다. 본 연구는 스마트 디바이스 기반의 자동화 모델 구축을 위하여, ① 일반적인 시설물 관리 프로세스 분석 및 관련 문헌 검토, ② 현재 유지보수 프로세스 개선, ③BIM Data, COBie Data, IoT 및 AR 기술을 기반으로 유지보수 관리 자동화 모델 기능 구성도 제작, ④ 스마트 디바이스 기반 유지보수 관리 자동화 모델 구축, ⑤ 사례 현장 적용, 유지보수 관리 진행 및 이력정보 재검토 소요 시간 비교를 통한 시스템 검증을 실시하였다. Based on the previous year's statistics, 37% of buildings in South Korea are aged over 30 years. As the number of the aging buildings increases, so does the need for maintenance. Building maintenance involves a significant number of works; the work of 'maintenance manager' accounting for the largest part. Currently, the maintenance history record is mostly in drawing or handwritten form which makes reviewing the data highly time consuming. Therefore, to improve the convenience of maintenance works and optimize historical data management, the existing maintenance process was analyzed. Problems were derived and a smart device-based automation model was established. In order to establish a smart device-based automation model, ① general flow of facility management process was analyzed and related articles were reviewed, ② current maintenance process was optimized, ③ functional block diagram of BIM Data, COBie Data, IoT, and AR-based automated maintenance management model was created, ④ a smart device-based automated maintenance management model was constructed, ⑤ finally, the above system was verified by testing the aforementioned model in the field site, evaluating the time required for the maintenance process and reviewing maintenance history data against the current one.

연비향상을 위한 실시간 운전 스타일 평가 알고리즘

이태영(Taeyoung Lee),박수완(Suwan Park),손준우(Joonwoo Son) 한국자동차공학회 2010 한국자동차공학회 학술대회 및 전시회 Vol.2010 No.11

High oil prices and a treaty on global climate change are driving are driving motor vehicle manufacturers and suppliers to improve vehicle fuel efficiency through sophisticated and expensive systems and components. However, if the most efficient vehicle would be used by an aggressive driver, it would have poor efficiency. Although it is known that driving style strongly affect the fuel efficiency, existing empirical knowledge about the relationship between driving style and fuel efficiency was limited. Furthermore, driving style is also influenced by other variables such as the driver parameters, road environment parameters, and vehicle parameters. Therefore, in order to assess fuel efficiency, a platform which can capture all driving events in synchronized manner is required. This paper describes real-time monitoring systems for recording driving style, vehicle status and road environment. The monitoring systems consists of six video cameras (two for driver and four for road environment monitoring), high speed and low speed CAN logger, driver gaze tracking system, global position system (GPS), real-time fuel consumption measuring system, vehicle gradient measuring system, image processing system for detecting lane position, and physiological signal measurement system. All of the data is synchronized by broadcasted master time. The recorded data will be used to assess driving style and fuel efficiency, and to develop Eco-Drive guidance systems based on driving style expectation.

ECG 기반의 운전자별 인지 부하 평가 방법 개발

홍원기(Wongi Hong),이원섭(Wonsup Lee),정기효(Kihyo Jung),이백희(Baekhee Lee),박장운(Jangwoon Park),박수완(Suwan Park),박윤숙(Yunsuk Park),손준우(Joonwoo Son),박세권(Seikwon Park),유희천(HeecheonYou) 대한산업공학회 2014 대한산업공학회지 Vol.40 No.3

High cognitive workload decreases a driver’s ability of judgement and response in traffic situation and could result in a traffic accident. Electrocardiography (ECG) has been used for evaluation of drivers’ cognitive workload; however, individual differences in ECG response corresponding to cognitive workload have not been fully considered. The present study developed an evaluation method of individual driver’s cognitive workload based on ECG data, and evaluated its usefulness through an experiment in a driving simulator. The evaluation method developed by the present study determined the optimal ECG evaluation condition for individual participant by analysis of area under the receiver operating characteristic curve (AUC) for various conditions (total number of conditions = 144) in terms of four aspects (ECG measure, window span, update rate, and workload level). AUC analysis on the various conditions showed that the optimal ECG evaluation condition for each participant was significantly different. In addition, the optimal ECG evaluation condition could accurately detect changes in cognitive workload for 47% of the total participants (n = 15). The evaluation method proposed in the present study can be utilized in the evaluation of individual driver’s cognitive workload for an intelligent vehicle.