• Journal of Music and Human Behavior
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• v.10 no.1
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• pp.67-83
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• 2013

Assessment in music therapy is a vital part for both the therapist and client in the process of therapy. Based on what is assessed, objectives are identified to formulate specific action procedures and strategies. The existing assessment tools involve lists of skills and behaviors in developmental domains without the music assessment protocol. In this study, the authors attempted to develop an assessment protocol using rhythm production for assessing skills in cognitive and emotional-behavior domain, namely Music Therapy Assessment for Cognitive and Emotional Behaviors (MACEB). The test items of the MACEB-Rhythm were developed using rhythmic patterns varying in terms of item difficulty, which are based on the various degree of clarity in the grouping/gestalt, saliency in part-whole relationship, and complexity in repetition vs. variability. Also the developed tool purported to examine one's level of emotional behavior trait by analyzing performance of musical parameters such as tempo, pacing, and loudness in the reproduced output. In order to verify the logical sequencing of test items, firstly 61 subjects participated in verifying the item difficulty for the selected 15 pilot items. The test items were revised and re-sequenced based on the gathered scores of item difficulty. In the second procedure, seven experts in the fields of music education, music therapy and music psychology whose research interest lie in music cognition revised the developed rhythm protocol items focusing on learning sequence, cognitive process and feasibility for skills assessment. The study attempted to provide foundations for using rhythm as an assessment protocol prior to its verification of assessment validity and reliability.

• KIISE Transactions on Computing Practices
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• v.21 no.4
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• pp.275-282
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• 2015

The Musical Instrument Digital Interface (MIDI) file format is a typical format for dynamic music that can be used not only for playing, but also for supporting dynamic music activity, such as musical instrument practice. However, almost all of the existing MIDI applications focus only on the playing features. In this paper, therefore, we implement a MIDI file play application that supports various dynamic features such as part-play repeating certain sections that the user wants, tone and speed control while playing a MIDI file, downloading MIDI files from a server, and lastly Digital Rights Management (DRM). By supporting these features, we are confident that our MIDI application will help users who wish to practice musical instruments to do so conveniently, while effectively protecting the copyright of their purchased MIDI files.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2009.10a
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• pp.1059-1062
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• 2009

As the electronic processing of music gradually is developed, there has been growing interest in automatical input of music. As a result, various researches which input music in the computer has been studied. However, previous studies have drawbacks that only the experts can do it. In other words, if beginners would like to use traditional production program of music scores than prior knowledge is required. To resolve this, we propose system painting music scores automatically using a bandwidth of soundsource, after extracting the voice sounds created by amateurs. The System provides amateurs with convenience so that they can compose. As well as, the System provides the ability to play music that produced by the computer. By using the system, amateurs can compose using voice and simple system handling. And, they can make a music that plays desired instruments.

• Journal of Music and Human Behavior
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• v.18 no.2
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• pp.87-107
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• 2021

The purpose of this research was to explore the phenomenon of object relations with musical instruments as experienced by professional Samulnori musicians. The researcher conducted in-depth individual interviews with five Samulnori players who also completed questionnaires with open-ended questions. The data were analyzed using Giorgi(2004)'s phenomenological methodology. The results offered 121 semantic units, seven subcategories, and three main categories. The three main categories were transitional object, object of expression and recognition of internal desires, and object for recognition of others and communication. These results suggest that the ensemble format of Samulnori promotes the development of the musician's object relationship and can externalize the player's internalized representational system and interaction method. This study is significant in that it reveals the endopsychic functional relationship between a musician and their instrument and provides the basis for the use of Samulnori instruments in music therapy.

• Journal of Music and Human Behavior
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• v.19 no.2
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• pp.1-26
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• 2022

This review was conducted to identify the research trends in music intervention studies with elderly patients with dementia. Korean- and English-written studies on music intervention for this population were searched and analyzed. Seventeen studies were included in the final analysis. The results showed that behavioral and psychological symptoms were the main dependent variables. In terms of the type of music intervention employed, interventions requiring the patient's active participation in producing music were more common than interventions that required the patient to only listen to music. The majority of studies provided live music, selected music that was familiar to and preferred by the patient, and utilized rhythm-based performance activities. In the studies using active music production as the intervention, the participants were asked to express the emotions evoked by group instrument playing or singing along with music, which doesn't reflect the functional limitations (e.g., cognitive impairment) of elderly patients with moderate to severe dementia. The results of this review point to the need in the field to develop music intervention programs for the elderly with moderate to severe dementia that meaningfully engage these patients in music-related behaviors that target their specific symptomology.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2010.07a
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• pp.315-316
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• 2010

디지털 방송시대에 새롭게 등장하는 다양한 방송수신메체를 통해 이제 방송 수신은 TV뿐만 아니라 PC, DMB 수신기, DMB 수신이 가능한 휴대폰, PDA, 네비게이션 등 다양한 방식으로 확대되었다. 이러한 방송환경의 변화는 그간 우리 방송법에 따라, 우리나라 공영방송의 주요 제작재원 및 운영자금으로 부과되어 온 방송수신료에 대한 새로운 해석을 요한다. 그럼에도 2008년 우리 헌법재판소는 일부 국민이 제기한 수신료 부과처분에 대한 헌법소원심판에서 새로운 방송수신 매체를 통해 방송을 수신할 수 있음에도 불구, TV수상기 소지자에게만 방송수신료를 부과하는 현 방식이 평등의 원칙에 반하는 것이 아니라고 주장하며, 일부 국민의 청구를 기각하였다. 이 논문은 공영방송의 기능과 방송수신료의 헌법적 의미에 비추어 볼 때, 새로운 수신 매체에 대한 수신료 부과와 관련한 위의 헌법재판소 결정례는 방송수신료의 법적 성격에만 집착한 나머지 방송수신료의 헌법적 의미에 관하여 진지한 질문과 대답이 결여되어 있고, 새로운 방송수신매체간의 차이점에 대한 세심한 분석을 결하였으며, 이론적으로는 수신료를 부가하는 것이 타당한 매체까지도 면제대상에 포함시킨 시행령을 너무 쉽게 정당한 것으로 인정하고 정책적 측면에서 면제할 필요성의 검토를 소홀히 하였다. 나아가 새로운 방송수신 매체 중 방송수신 기능이 부가적이더라도, 부가적인 한도에서 제한적으로 수신료를 지불하는 것에 대하여 검토했더라면 더욱 설득력 있는 결정이 되었을 것이라고 비판하였다.

• Proceedings of the Korea Information Processing Society Conference
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• 2017.11a
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• pp.857-860
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• 2017

현재 초보적인 능력을 가진 악기 연주자가 접근할 수 있는 하드웨어, 소프트웨어를 사용해 악기 연주법을 연습할 수 있는 수단은 전무하다. 따라서 본 논문은 악기 연주자가 연습을 하기 위해 사용할 수 있는 음 인식과 악보 정보의 처리, LSTM을 통한 자동 악보 생성의 복합적 기능을 가진 악기 보조 시스템을 제안한다. 또한 본 시스템은 기존의 FFT와 같은 일반적인 Pitch Detection 알고리즘보다 더 우월한 음 인식 성능을 보유한 Autocorrelation 전처리를 거친 LeNet-5 Convolutional Neural Network 모델을 사용하여 음 인식 성능을 높이는 기법을 제안한다. 이 음 인식 모델은 실험 결과 기존의 음 인식 기법보다 최대 약 5.4%의 성능 증가를 이루어냈다.

• Proceedings of the Korea Information Processing Society Conference
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• 2015.04a
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• pp.1025-1027
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• 2015

작곡가들에게 순간 순간 떠오르는 영감을 피아노로 연주했을 때, 바로 악보화 하여 작곡에 도움을 주는 애플리케이션을 개발한다. 본 논문에서 개발한 애플리케이션은 안드로이드 환경에서 FFT(Fourier Fast Transform)이라는 주파수 측정 기술을 이용하여 계이름을 확인한 후 이를 음표와 연결시켜 악보화하는 기능을 제공한다.

• Proceedings of the Korea Water Resources Association Conference
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• 2016.05a
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• pp.140-140
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• 2016

수분 이용효율(Water Use Efficiency, WUE)은 식생이 흡수한 수분 중 증발산에 이용한 비율로, 육상생태계의 수문학적 순환 및 탄소 순환의 기능을 측정할 수 있는 중요한 지표이다. 또한 이는 특정 지역의 기후 조건이나 토지 피복과 같은 다양한 요인에 따라 변할 수 있다. 본 연구에서는 한반도에서 2010년부터 2014년까지의 기후 요인(강수, 기온)과 토지 피복에 따른 WUE의 변화를 살펴본다. MODerate resolution Imaging Spectroradiometer (MODIS) 기반 총일차생산성(Gross Primary Productivity, GPP), 증발산량(Evapotranspiration, ET), 잎면적지수(Leaf Area Index, LAI)와 Willmot의 기상자료 등 대상지역에 대한 격자 자료를 사용한다. 구체적으로 숲, 초원, 농지와 같이 다양한 토지 피복 조건에 대한 월간 및 연간 WUE(=GPP/ET)를 산정하고, 이의 LAI나 기후 조건(강수, 기온)과의 관계를 분석하고자 상관성 및 요인 분석을 진행한다. 기후 조건 및 토지 피복 조건을 고려한 15년간 한반도에서의 WUE의 변화에 대한 분석은 앞으로의 수자원 관리 및 산림 정책에 활용할 수 있을 것으로 판단된다.

• (The) Research of the performance art and culture
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• no.39
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• pp.701-748
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• 2019

Gwanak-yeongsanhoesang, called as Samhyeon-yeongsanhoesang or Pyojeongmanbangjigok, is played by the musical instrumental organization, Samhyeonyukgak or by a large scale wind ensemble added Sogeum and Ajaeng. This study aims to analyze the structure and form of Piri melody which plays major melody of Sangnyeongsan in Gwanak-yeongsanhoesang, and to examine the relationship between Piri melody and Daegeum yeoneum grasping the structure and function of yeoneum. In Sangnyeongsan of Gwanak-yeongsanhoesang, the criterion for grouping the phrases of Piri melody is yeoneum. Especially, Daegeum yeoneum carries out the function of finishing the phrase of Piri playing the major melody by ornamenting or extending it, and presenting the motives or motive elements of the next phrase while Piri rests. The types of a, b, g, and i in the various shapes of the minimum melodic fragment of Piri are important motive elements that constitute a phrase of Piri melody. Especially, main motive a-type (仲→無) contrasts with b type (林→潢) which forms a strong tension by transposing 2 degrees upward. In addition, a-type gradually descends towards the end of music by changing to g-type (仲→林) or to i-type (太→林) which is 3 degrees below, which is related to the gradual descent cadence of Korean traditional music. A phrase of Piri melody of Sangnyeongsan in Gwanak-yeongsanhoesang consists of a combination of the types a, b, g, i, and cadence (x-type), and each phrase is structured in the repeating tension-relaxation. Looking at the structure of Piri phrases by similar types, each phrase has a logical variation structure through the methods such as omission and addition of notes, and crossing of melodies. The shape of the minimum melodic fragment of Daegeum yeoneum can be divided into a back-yeoneum of a~b types and a front-yeoneum of x1~x3. The x-types ornament Jungnyeo (仲), the cadence tone of Piri melody or are simply used as the extending back-yeoneum, and types a and b have the function of a front-yeoneum that prepares the beginning of the next phrase of Piri melody. The combination types of the minimum melodic fragment of Daegeum yeoneum appear mostly as the shape of back-yeoneum + front-yeoneum. In addition, the front-yeoneum of the type a and b appears independently without back-yeoneum, and the x3 type has a shape of the back-yeoneum without the front-yeoneum. Looking at the structure of Daegeum yeoneum by similar types, it can be seen that Daegeum yeoneum is also composed of a variation structure of omission and addition of notes like Piri melody.