{"id":414,"date":"2026-03-24T11:06:01","date_gmt":"2026-03-24T11:06:01","guid":{"rendered":"https:\/\/donghyukk.mycafe24.com\/?page_id=414"},"modified":"2026-03-31T12:51:49","modified_gmt":"2026-03-31T12:51:49","slug":"theatrical-sound-stage-music","status":"publish","type":"page","link":"https:\/\/donghyukheo.com\/en\/theatrical-sound-stage-music\/","title":{"rendered":"Theatrical Sound & Stage Music"},"content":{"rendered":"
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Theatrical Sound & Stage Music<\/b><\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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Musical: The Stolen Bird<\/b><\/h3>

Date & Venue: 2024 \u2013 2026 | Ureuk Hall, Daegaya Culture Nuri, Goryeong<\/p>

Role:<\/b> Music Director \/ Composer<\/p>

Project: Daegaya Mythical Drama \/ Goryeong Culture & Tourism Foundation<\/p>

Director: Seojin Kim<\/p>

Choreography:<\/span>\u00a0Wonjeong Jang<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t

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  • Description:\nA visionary musical production that reinterprets the mythologies of the UNESCO World Heritage Jisan-dong Tumuli. To articulate the profound emotional arcs of these mythical figures, the score employs a radical cross-genre synthesis\u2014seamlessly bridging the ethereal elegance of Jeongga (traditional vocal) with the raw intensity of Heavy Metal and the rhythmic accessibility of Pop.<\/p><\/li>

  • A Pure Live Crossover Ensemble: Rejecting the use of pre-recorded tracks (MR), the performance is anchored by an uncompromising 100% live ensemble. It fuses the traditional resonances of the Goryeong County Gayageum Orchestra and the piercing timbre of the Taepyeongso with a high-energy band session. This real-time sonic intersection generates a visceral momentum that defines the production\u2019s immersive power.<\/p><\/li>

  • Large-scale Auditory Architecture: The sound design is meticulously calibrated within the physical confines of Ureuk Hall to achieve total acoustic equilibrium. It ensures that the massive traditional ensemble, the modern band, and the multi-genre live vocals coexist with absolute clarity, preventing any auditory interference and maximizing the dramatic impact.<\/p><\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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    Fantasy Music Drama: Song of Gaya<\/b><\/h3>

    Date & Venue: Apr 2023 | Ureuk Hall, Daegaya Culture Nuri, Goryeong<\/p>

    Role: Music Director \/ Composer \/ Sound Designer<\/p>

    Director:<\/b> Seojin Kim<\/p>

    Choreography:<\/b> Wonjeong Jang\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t

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    • Description:\nA visionary fantasy music drama inspired by the myth of 'Jeonggyeonmoju,' the mountain deity of the ancient Daegaya kingdom. Diverging from traditional musical conventions, this production presents a radical sonic experiment\u2014fusing the high-flying acrobatics of Art Circus with the high-octane energy of an Electronic Band.<\/p><\/li>

    • Transcendent Sound Crossover: The score intricately weaves the ethereal vocal lines of Jeongga (traditional song) into a multi-dimensional fabric of electronic beats and live band textures. By composing and arranging original numbers where Daegaya\u2019s primal vitality meets modern sensibilities, the music maximizes the production\u2019s fantastical atmosphere.<\/p><\/li>

    • Dynamic Audiovisual Synchronization: To accommodate a relentless sequence of aerial circus, mime, and traditional performances (such as Beona-nori), the sound design utilizes precision-engineered cues. This ensures that the live musical score and the performers\u2019 physical movements remain in perfect, micro-second alignment, creating a seamless and immersive sensory experience.<\/p><\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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      2019 Gwangju Design Biennale Opening Performance: Human Light<\/b><\/h3>

      Date & Venue: Sep 6, 2019 | Gwangju Biennale Exhibition Hall Plaza<\/p>

      Role: Music Director \/ Composer \/ Sound Designer<\/p>

      Media Art & Directing: Siyon Jin<\/p>

      Choreography: Gayoung Jo<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t

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      A Synesthetic Convergence of Light, Body, and Sound to Awaken \"Humanity\"<\/b>\u00a0<\/p>

      The opening performance for the 2019 Gwangju Design Biennale, designed to encapsulate the theme of \"Humanity.\" Under the direction of long-term partners Siyon Jin (Media Art) and Gayoung Jo (Choreography), the production transmuted the intersection of cold technology and the warm human body into a grand auditory narrative, marking a successful start to the Biennale.<\/p>

      Epic Sound Design Commanding a Vast Outdoor Plaza<\/b>\u00a0<\/p>

      To instantly immerse thousands of spectators at the opening ceremony, the sound design established a multi-dimensional scale that enveloped the entire plaza. By merging analog rhythms\u2014mimicking the human heartbeat\u2014with futuristic digital synth textures, the project amplified the visual and physical message of \"Human Light.\"<\/p>

      • Artistic Symbiosis & Precision Synchronization: The musical arc was meticulously synchronized with Siyon Jin's light movements and Gayoung Jo's dynamic choreography, creating a unified opening stage where sight, body, and sound functioned as a single organic entity.<\/p><\/li>

      • Philosophical Composition for Human-centric Design: To translate the philosophy of human-centered design into sound, the score interweaves warm acoustic melodies with modern electronic acoustics, achieving a balance between universal resonance and artistic innovation.<\/p><\/li>

      • Open-Space Acoustic Architecture: Specifically optimized for the large open-air plaza, the sound design controlled acoustic dispersion to ensure that the performers' dynamic energy was delivered to the audience with absolute clarity and visceral impact through large-scale Spatial Audio.<\/p><\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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        Media Facade Convergence Performance: Symphony of Light<\/b><\/h3>

        Date & Venue: Aug 10, 2019 | Seoseokdang, Gwangju Traditional Culture Center<\/p>

        Role: Music Director \/ Composer \/ Sound Designer<\/p>

        Media Art: Siyon Jin<\/p>

        Choreography: Gayoung Jo<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t

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        A Multidisciplinary Media Performance Reinterpreting Traditional Hanok Space<\/b><\/p>

        A large-scale media facade production commissioned to commemorate the 2019 FINA World Masters Championships. Utilizing the serene wooden architecture of Seoseokdang at the Gwangju Traditional Culture Center as a massive canvas, the performance presented a multi-dimensional stage where vibrant media art depicting Korea's four seasons intersected with dynamic physical choreography.<\/p>

        Multi-layered Soundscapes Reflecting Architectural Characteristics<\/b><\/p>

        Designed a multi-layered sound architecture that anchors the trajectories of light and physical movement onto the unique spatial backdrop of a traditional Hanok. By fusing melodic elements of traditional Korean music with dynamic percussion rhythms and modern electronic acoustics, the project achieved a grand soundscape that resonates intuitively with a global audience.<\/p>

        • Site-Specific Outdoor Acoustic Design: Optimized the spatial audio by analyzing the inherent acoustic properties of the wooden structure and the open-air environment, ensuring that the visual spectacle and the performance\u2019s energy were delivered to the audience with maximum clarity and three-dimensional impact.<\/p><\/li>

        • Synchronized Composition for Visuals and Movement: Engineered a precision-tracked soundtrack that meticulously follows the visual shifts of the media facade and the dynamic choreography on stage, maximizing audiovisual immersion.<\/p><\/li>

        • Universal Sonic Narrative: To mark a global sporting festival, the score interweaves traditional Korean sentiments with intense percussion beats and majestic synthesizer layers, delivering a musical experience that transcends linguistic and national boundaries.<\/p><\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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          Multidisciplinary Art Project: Transcendence II<\/h3>

          Date & Venue: Dec 27, 2018 | KEPCO Hanbit Hall<\/p>

          Role:<\/span>\u00a0Music Director \/ Composer \/ Sound Design\u00a0<\/p>

          Media Art:<\/span>\u00a0Siyon Jin\u00a0<\/p>

          Choreography:<\/span>\u00a0Gayoung Cho<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t

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          A Multidimensional Media Performance Blurring the Boundaries of Reality and Dream<\/b><\/p>

          A large-scale multidisciplinary project exploring the ambiguous boundaries between reality, dreams, and dimensions through the theme of \"Lucid Dreaming.\" By integrating cutting-edge holograms with contemporary ballet, the performance visualizes the encounter between the tangible and the intangible, creating an interactive experience that transcends time and space through the language of light.<\/p>

          Constructing a Surrealist Narrative through 5.1 Channel Immersive Audio<\/b>\u00a0<\/p>

          The sound design focused on establishing a multi-dimensional connection between advanced media and the physical movements of dancers within the performance space. Utilizing a 5.1-channel surround system, the project meticulously synchronized the acoustic trajectories with the visual movement of holographic particles floating in space.<\/p>

          • Surrealist Soundscape Composition: To articulate the dramatic shift from \"solid daily life\" to \"transcending into another dimension,\" the score interweaves ethereal ambient textures with futuristic electronic motifs, building a mysterious and immersive musical narrative.<\/p><\/li>

          • Interactive Audio Engineering: Precision-engineered sound cues were designed to react organically to holographic visual shifts and real-time physical performance, ensuring that sight, body, and sound remain in perfect, micro-second alignment.<\/p><\/li>

          • Spatial Presence and Systemic Optimization: By optimizing the spatial audio system tailored to the hall\u2019s architectural characteristics, the sound design grants an overwhelming auditory reality to the ephemeral holographic illusions, maximizing the production's emotional impact.<\/p><\/li><\/ul>

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              Media Facade Performance: Dogapsa \u2018Worinchungang\u2019<\/b><\/h3>

              Date & Venue: Oct 6, 2018 | Daeungbojeon Hall, Dogapsa Temple, Yeongam<\/p>

              Role: Music Director \/ Composer \/ Sound Designer<\/p>

              Media Art: Siyon Jin<\/p>

              Choreography<\/strong>:<\/span>\u00a0Gayoung Cho<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t

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              A Media Art Soundscape Embodying Millennial Architectural Beauty and Buddhist Philosophy<\/b>\u00a0<\/p>

              A media facade production staged at the Daeungbojeon Hall of Dogapsa Temple for the Doseon Guksa Cultural Arts Festival. Based on the theme of \"Worinchungang\"\u2014meaning \"The Moon Shines on a Thousand Rivers\"\u2014this project transformed the serene wooden architecture of an ancient temple into a majestic canvas of light and sound. It is a multidisciplinary performance that interprets Buddhist philosophical messages and the aesthetics of Korean traditional culture through a modern lens.<\/p>

              Spiritual Soundscapes Bridging Traditional Temples and Technology<\/b>\u00a0<\/p>

              By leveraging the massive and three-dimensional characteristics of the Daeungbojeon Hall, the sound was engineered to ensure that light waves and the dancer's movements resonate within the temple's natural acoustic chamber. The production fused Korean visual motifs, such as the intricacy of mother-of-pearl lacquerware and the sound of wind from Soswaewon, with grand electronic acoustics.<\/p>

              • Philosophical Composition of 'Worinchungang': To express the spread of mercy\u2014like a single moon reflecting on countless rivers\u2014the musical narrative begins with a quiet, meditative ambient sound and progressively evolves into a three-dimensional score that commands the entire space.<\/p><\/li>

              • Outdoor Spatial Audio Utilizing Architectural Resonance: By precisely calculating the natural reflections of the wooden structure and the open-air environment of the Wolchulsan mountain temple, the sound design allowed the entire Daeungbojeon Hall to vibrate like a giant instrument, creating an overwhelming immersive experience for the audience.<\/p><\/li>

              • Musical Synchronization of Vision and Body: Engineered precision-tracked sound cues and textures to ensure a perfect harmony between the vibrant media art flowing along the hall\u2019s Dancheong (traditional coloring) and the ballet performance on stage.<\/p><\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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                Multidisciplinary Art Project: Transcendence<\/b><\/h3>

                Date & Venue: Dec 28, 2017 | KEPCO Hanbit Hall<\/p>

                Role: Music Director \/ Composer \/ Sound Designer<\/p>

                Media Art: Siyon Jin<\/p>

                Choreography: Gayoung Jo<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t

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                A Convergence of Regional Narrative and Advanced Technology<\/b> <\/p>

                A large-scale multidisciplinary project staged at Naju Bitgaram Innovation City. The production reinterprets the unique heritage of Naju\u2014ranging from traditional natural dyeing to the legend of the Wansacheon well and the iconic Hwangpodotbae sailboats\u2014through a three-act structure: \"Birth, Growth, and Leap.\" It is an interactive performance where holograms, contemporary ballet, and traditional arts coalesce into a singular vision that transcends time and space through the language of light.<\/p>\n

                Constructing a Multi-dimensional Narrative through 5.1 Channel Immersive Audio<\/b> <\/p>

                Moving beyond a supportive role, the sound design established a visceral connection between advanced media and the physical movements of dancers within the space. Utilizing a 5.1-channel surround system, the project meticulously synchronized the acoustic trajectories with the visual movement of holographic particles.<\/p>\n

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                  Cross-genre Composition for Regional Narratives: To articulate the epic arc from the \"Birth of the Dyeing Goddess\" to the joys and sorrows of humanity and the ascent of a future city, the score interweaves the primal acoustic textures of traditional instruments with futuristic electronic acoustics, building a dynamic musical narrative.<\/p>\n<\/li>\n

                • \n

                  Interactive Audio Engineering: Precision-engineered sound cues were designed to react organically to visual elements, such as the ripples of the Yeongsan River, ensuring that sight, body, and sound remain in perfect, micro-second alignment for a fully immersive stage.<\/p>\n<\/li>\n

                • \n

                  Spatial Presence and Systemic Optimization: By optimizing the spatial audio system tailored to the hall\u2019s architectural characteristics, the sound design grants an overwhelming auditory reality to the ephemeral holographic illusions, maximizing the production's emotional impact.<\/p>\n<\/li>\n<\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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                  Theatrical Sound & Stage Music \ucc3d\uc791 \ubba4\uc9c0\uceec: \ub3c4\ub451\ub9de\uc740 \uc0c8 Date & Venue: 2024 – 2026 | \uace0\ub839 \ub300\uac00\uc57c\ubb38\ud654\ub204\ub9ac \uc6b0\ub975\ud640 Role: Music Director \/ Composer Project: \ub300\uac00\uc57c \uc2e0\ud654\uadf9 \/ \uace0\ub839\ubb38\ud654\uad00\uad11\uc7ac\ub2e8 Director:\u00a0\uae40\uc11c\uc9c4 Choreography:\u00a0\uc7a5\uc6d0\uc815 Description: \uc138\uacc4\uc720\uc0b0\uc778 \uc9c0\uc0b0\ub3d9 \uace0\ubd84\uad70\uacfc \ub300\uac00\uc57c\uc758 \uc2e0\ud654\ub97c \ubaa8\ud2f0\ube0c\ub85c \ud55c \ucc3d\uc791 \ubba4\uc9c0\uceec\uc785\ub2c8\ub2e4. \uc2e0\ud654 \uc18d \uc778\ubb3c\ub4e4\uc758 \uc11c\uc0ac\uc640 \uac10\uc815\uc120\uc744 \uc785\uccb4\uc801\uc73c\ub85c \ud45c\ud604\ud558\uae30 \uc704\ud574, \uc804\ud1b5 \uc131\uc545\uace1\uc778 **\uc815\uac00(\u6b63\u6b4c)**\uc758 \uc6b0\uc544\ud55c \ubcf4\uceec\ubd80\ud130 \uac15\ub82c\ud55c […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"footnotes":""},"class_list":["post-414","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/donghyukheo.com\/en\/wp-json\/wp\/v2\/pages\/414","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/donghyukheo.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/donghyukheo.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/donghyukheo.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/donghyukheo.com\/en\/wp-json\/wp\/v2\/comments?post=414"}],"version-history":[{"count":27,"href":"https:\/\/donghyukheo.com\/en\/wp-json\/wp\/v2\/pages\/414\/revisions"}],"predecessor-version":[{"id":783,"href":"https:\/\/donghyukheo.com\/en\/wp-json\/wp\/v2\/pages\/414\/revisions\/783"}],"wp:attachment":[{"href":"https:\/\/donghyukheo.com\/en\/wp-json\/wp\/v2\/media?parent=414"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}