표제지

목차

제1장 서론 8

제1절 연구의 배경 및 목적 8

제2절 선행연구 및 방법 11

제2장 브라스퍼포먼스의 형성과정 15

제1절 브라스 밴드(Brass band)의 기본개념 15

1. 브라스밴드의 결성 배경 15

2. 금관악기의 음악적 특성 및 연주환경 19

제2절 브라스퍼포먼스의 장르적 특성 26

1. 국외 대표적 브라스밴드의 활동 27

제3장 브라스퍼포먼스 그룹 '퍼니밴드'의 관객확보 34

제1절 그룹 퍼니밴드의 창단 배경 34

1. 창단배경 34

2. 퍼니밴드의 공연활동 40

제2절 퍼니밴드의 관객개발 43

1. 마케팅 전략 44

2. 퍼니밴드의 마케팅믹스(Marketing Mix) 49

제4장 '퍼니 밴드'의 브라스퍼포먼스 장르와 마케팅 57

제1절 넌버벌 뮤지컬 -《브라스맨》 57

1. 《브라스맨》작품컨셉 및 제작과정 58

2. 《브라스맨》의 마케팅믹스 68

제2절 퓨전 뮤지컬 《이솝빌리지》 71

1. 《이솝빌리지》 작품컨셉 및 제작과정 71

2. 《이솝빌리지》 마케팅 사례 81

제5장 결론 86

참고문헌 89

ABSTRACT 94

표목차

〈표1-1〉 양악 분야 현황분석 9

〈표2-1〉 한국 브라스밴드 발달과정 17

〈표2-2〉 브라스퍼포먼스 발전과정 27

〈표2-3〉 외국 브라스퍼포먼스 단체비교 32

〈표3-1〉 연도별 문화예술 공연 건수 비교(괄 호안은 전년대비 증가율) 36

〈표3-2〉 97년 문화예술인실태조사 37

〈표3-3〉 양악분야 활동부문 37

〈표3-4〉 공연예술단체 수 38

〈표3-5〉 국내 공연단체수 39

〈표3-6〉 연간 작품 발표율과 작품수 39

〈표3-7〉 퍼니밴드 주요약력 42

〈표3-8〉 문화 산업별 매출액 내역 43

〈표3-9〉 기존 공연과 퍼니밴드의 표적시장 46

〈표3-10〉 청소년 문화특활 공연별 실적 47

〈표3-11〉 기존 공연과 퍼니밴드의 Product 50

〈표3-12〉 문화예술 장애요인 51

〈표3-13〉 기존 공연과 퍼니밴드의 Price 52

〈표3-14〉 기존 공연과 퍼니밴드의 Place 53

〈표3-15〉 기존 공연과 퍼니밴드의 Promotion 55

〈표3-16〉 연령별 현황 55

〈표4-1〉 공연개요 82

〈표4-2〉 공연목표 83

〈표4-3〉 객석단가 산출 83

〈표4-4〉 비용대비 손익 분석 83

〈표4-5〉 할인 정책 84

〈표4-6〉 마케팅의 집행예산 84

그림목차

〈그림3-1〉 퍼니밴드의 마케팅 전략 45

〈그림3-2〉 난타의 마케팅 전략 45

〈그림3-3〉 퍼니밴드의 브라스퍼포먼스 포지셔닝 맵 48

〈그림4-1〉 넌버벌퍼포먼스 뮤지컬 58

사진목차

〈사진2-1〉 러.일 전쟁 사진 18

〈사진2-2〉 트럼펫 22

〈사진2-3〉 트롬본 23

〈사진2-4〉 호른 24

〈사진2-5〉 튜바 26

〈사진2-6〉 카나디언 브라스 29

〈사진2-7〉 엠파이어브라스 30

〈사진2-8〉 스페니쉬 브라스 31

〈사진3-1〉 퍼니밴드 구성원(오른쪽부터 김정현, 박태홍, 임광선, 안종민, 이종성, 문원기) 41

〈사진4-1〉 사고목격장면 59

〈사진4-2〉 호송장면 60

〈사진4-3〉 자기소개 장면 61

〈사진4-4〉 아침체조 장면 61

〈사진4-5〉 연습 장면 63

〈사진4-6〉 상상 63

〈사진4-7〉 경연대회 장면 64

〈사진4-8〉 캐롤장면 64

〈사진4-9〉 배웅 장면 65

〈사진4-10〉 《브라스맨》 포스터 67

〈사진4-11〉 바람과해 72

〈사진4-12〉 입장 장면 74

〈사진4-13〉 장난치는 니콜로 75

〈사진4-14〉 파리 장면 76

〈사진4-15〉 방앗간 장면 77

〈사진4-16〉 마지막 장면 78

〈사진4-17〉 이솝빌리지 공연 포스터 80

Cultural arts performances are invaluable, for they provide the joy of mental pleasure, one of the basic desires all humans share. And music in particular is a highly respected segment of cultural arts that's associated with various forms of performances.

Instrumental music has been widely used in classical music concerts, but their use in the field of brass quintet has not enjoyed the same level of popularity. Brass quintet, as the term suggests, is a five brass instrument ensemble, consisting of two trumpets, one trombone, one horn, and ore tuba.

Having majored in brass instruments and played in an orchestra, this author realized declining use and interest of brass performances and in 2002 founded a brass performance band named Funny Band.

Brass performance is a new musical concert genre that adds performance elements to traditional brass concerts, and the birth of Funny Band introduced the term for the first time to the Korean public.

Although there have been numerous examples of foreign brass concert groups mixing in performances into their concerts, Funny Band is probably world's first team to put on entire concerts in performance musical format.

One of the traits of modern concerts is that they combine multiple types of concerts in to a single fusion concert.

In this spirit, brass performance is a new fusion music concert combines dance and play with various instruments.

Brass performance group Funny Band has performed over 1,300 concerts so far since its founding. Brass performance as a genre requires a high degree of musicianship and incorporates many of the elements from other genres, including the experimental nature of nonverbal performance.

Based on this, Funny Band became the first band of its kind to introduce a new brass performance concert genre, through a nonverbal brass musical entitled Brassman in 2004 and a fusion musical named Aesop Village throughout 2005 and 2006.

Boosting public awareness in a new genre required clarification of brass performance's qualities as a genre based on studies on the experimental nature and creativity of examples from the genre and, based on this clarification, a study on developing an audience for the purpose of establishing originality for brass performance. And achieving all this demanded a new concert format and a new marketing approach never before seen in traditional brass concert bands.

Today in Korea new brass performance groups are continuing to form.

Research into concert marketing is essential in order to vitalize the Korean brass performance market and discover new markets both in Korea and out.

The author is a founder of Funny Band and was exclusively in charge of the group's management and concert affairs.

It is, therefore, this author's intent to reassess development of works capable of communicating with the audience and affecting the artistic and methods of audience marketing, promotion, and market analysis for a new genre of music.

To this end, this paper deals in theoretical observations on brass instruments and the characteristics of brass chamber music and brass band in reviewing the background and elements of the transition from brass quintet into brass performance.

This paper also aims to provide a theoretical foundation for brass chamber music, introduce the development process of an entirely new genre known as brass performance, and showcase brass performance concerts by Funny Band.

In addition, this study looks into the efficiency and managerial rationality in brass performance concerts, in which marketing efforts fall far behind those of other forms of concert arts, via a comprehensive audience development marketing and promotion research that focuses on discovery of new domestic and international markets.

In detail, the paper describes the concert culture, domestic music-related groups, and brass concert statuses during the course of this new genre's development; introduces Funny Band and summarizes its activities, including highlights of Funny Band performances and the affects of marketing variables; and presents a more comprehensive audience attracting marketing strategy capable of contributing to the betterment of brass performance by basing on Funny Band's S.T.P. (Segmentation, Targeting, and Positioning) strategy, marketing mix, and the marketing strategies currently being employed in the music concert and arts circles.

This paper also studies the characteristics, production processes, and marketing strategies of Brassman and Aesop Village, defines conventional musical types and their meanings, and suggests at the success possibility of nonverbal musicals.

Summaries on matters that can be applied and used in establishing other cultural products, as this author discovered from analysis of Funny Band's marketing strategy, are as follows:

First, a product of the highest caliber and having global competitiveness is needed to compete.

In the production aspect, a global product that complies with trends in audience demand while retaining distinctive and universal appeal must be developed.

Culture industry has now changed to a point where the term "domestic market" no longer seems meaningful.

Within the ubiquitous framework of the internet and technology, cultural commodities get distributed through e-commerce and the concept of local markets in the culture industry, like in so many other types of industries, is diminishing while the idea of a single global market continues to strengthen and dominate.

Therefore, developing products of the highest caliber, maintaining the quality through strict quality control, and continuing to invest in research and development will enable achievement of products capable of adapting to changes in the market and audience preferences.

This is because the most fundamental requisite of a product is quality. However effective a marketing strategy may be, success will always be out of reach if the quality is not there to back up the claims.

Second, is to adopt a producer system in establishing an efficient management system.

Conventional brass concerts never realized the importance of marketing and never bothered employing marketing strategies. The management philosophy was focused on artistic aspects, believing that entertaining concerts would automatically fill the seats. However, everyone now understands that the importance of a marketing strategy rivals that of concert production.

The producer system separates production and operation and thereby enables strict production quality control and applies deliberate and strategic management approaches to concert marketing. In addition, the industry's mechanism and limitations need to be identified and rectified based on planning capacity that enables the producers to read and sense global market trends and audience preferences and production and operation-marketing in particular-affairs must be clearly separated to secure improved managerial efficiency and thereby secure greater competitiveness.

Third, concerns pricing. In the past, art concerts issued excessive amounts of complimentary tickets and this resulted in the audience leaving with a poor view of the concert, irrespective of how well put together or good the concert actually was. This way of issuing complimentary invitations will need to be changed through strict marketing strategies for performance arts.

Fourth, concerts will need to utilize non-stage performance arenas that are easily accessible by the audience.

Doing so will allow brass concerts to shed its old image and transform brass concerts from something that awaits the audience to something that seeks out the audience.

Fifth, a window effect-maximizing marketing strategy needs to be planned based on understanding of value creation for cultural products and various subsidiary enterprises, such as characters, advertising, games, events, etc. In particular, strategies aimed at economies of scale that would enable sales maximization through maximum utilization of distribution channels, advertisements, videos, game software, book publications, records, characters, etc. resulting from overcoming the limitations of the irreproducible concert industry and gaining brand power.