• Proceedings of the Korean Society of Broadcast Engineers Conference
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• fall
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• pp.242-244
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• 2021

최근 가상현실과 공간에 대한 다양한 연구들이 진행되면서 메타버스(Metaverse)를 중심으로 다양한 연구들이 진행중에 있다. 본 연구는 음악을 정량화하여 발생한 데이터를 이용하여 다양한 가상의 도시공간을 생성하는 작업을 진행한다. 이렇게 생성된 작업은 하나의 음악을 2-3명의 연주자가 연주한 내용을 바탕으로 진행이 되며, 분석 방법은 기존 연구 중 하나인 '뮤직 스카이라인(Music Skyline)'과 '크레페(CREPE)' 등의 방식을 통해 이루어지게 된다. 향후 추가 연구로서 이러한 부분들이 보완되고 개선된다면, 다양한 음악 정보를 활용한 자신만의 도시를 컴퓨터 기술이 아닌 음악 작곡만으로도 가능하도록 플래폼화 하고, 그 근거를 찾아내는데 많은 노력이 필요할 것으로 보인다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.2
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• pp.583-589
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• 2017

The 1900s in New Orleans, the harbor city, was indeed an era of confusion because there were various ethnic groups and races. Songs that had been sung by slaves taken from Africa, Black spiritual music, blues, British folk songs, French folk music, ballet music, Spanish dance music, and the march of military bands were mixed with Rag Time to achieve diversity. This developed the beginning of jazz. While swing jazz was most popular and loved by the public during the 20th century, the bebop preferred the small scale organization of musical instruments and developed as a form of jazz featuring the impromptu musical performances. Later, cool jazz, a new style involving the fast and complicated code progress, emerged with free jazz, which features the fundamental rupture from the tradition of the jazz. Miles Davis, who introduced the rock beat in jazz, started fusion jazz. Although jazz has been named differently depending on the era, the main attraction of jazz lies on improvisation. In other words, despite a small changes in code progress and rhythm, the most important thing the player considers is improvisation. Some famous players who lived in the same era followed the whole atmosphere but each had their own style. So, even when they did play the same song, they revealed their style in solo parts despite the same head.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.291-302
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• 2019

In this paper, we first looked at the structures and characteristics of the musical instrument to study the tone of haegeum, which is the only Korean musical instrument made using all the eight ingredients that make gugak instruments, and which is now the most frequently used in fusion gugak or pop music production sites. In addition, for the comparison of the various tones of the haegeum, under the same conditions, we analized how the haegeum's tone changes according to the types of Wonsan, which works as the bridge of the haegeum. Four Wonsan made of Park, Rosewood, Maple and Black Dan were used in the experiment, and low, medium, and high notes were recorded to compare the inner and outter open strings and the sound ranges. By doing so, we looked at the composition of frequency characteristics and the distribution and analyzed the timbres according to the types of Wonsan. Based on this study, it is expected to help the performers in the field choose the proper Wonsan according to each harmony part, rather than just to their tastes when performing Gugak orchestral music or haegeum ensemble. We also look forward to playing haegeum and using the timbres in various combinations of Wonsan that suit the genres at the pop music industry.

• Journal of Digital Convergence
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• v.16 no.9
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• pp.293-299
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• 2018

Led Zeppelin, Steely Dan, TOTO, SpyroGyra, are a few examples of Halftime Shuffle Groove. This paper studies Halftime Shuffle Groove. Based on the performance examples, this paper compares and analyzes each representative song to examine the concise yet quite different way of playing rhythm patterns through music score, wave sound source, and so on. It is very important to analyze and study the rhythm of world-renowned musicians and to explore the diversity of modern rhythmic patterns more efficiently in contemporary music. This paper analyzes Halftime Shuffle Grooves and rhythms with their properties to investigate various possibilities that do not narrow the mechanized rhythm.

• Journal of the Korean Institute of Intelligent Systems
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• v.19 no.4
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• pp.550-555
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• 2009

A violin plays an essential role among string instruments. It has an extremely strong expressive power that can be conveyed through beautiful timbre when played correctly. However, a beginner who attempts to play the violin will be most likely to face difficulties in placing his or her fingers on a specific point of the fingerboard or in bowing the violin on a specific string. In order to resolve this difficulty, the database of a professional violinist's bowing skills were inserted beforehand. By doing so, a beginner can emulate professional's violin by comparing his playing with the constructed database that is programmed in the computer. Accordingly, the results are displayed on the monitor after being evaluated by the performance evaluation function using a fuzzy logic.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.5
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• pp.1640-1645
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• 2010

There exists an inconvenience that players of each instrument pass musical score in orchestra recital. In this paper, we implement the electronic musical score transmitting system that possible to hand sheet music automatically, using Mini - ITX and LCD Panel. We made them unite with a sheet music pair, and it was made and a message and data transmission were embodied using reliable TCP/IP socket communication. In this paper, the client hands sheet music automatic, and server implemented the manual function to manage each clients individually. Because one band can be managed by one Access file all together, it is easy to manage each band. Along with this, this system selects TCP/IP as the reliable transfer protocol that protect loss and errors.

• Proceedings of the Korea Information Processing Society Conference
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• 2015.10a
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• pp.119-122
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• 2015

기타를 처음 접할 때 겪는 어려움은 크게 운지법과 곡에 대한 이해다. 연주자마다 곡의 연주 방법이 상이하기 때문에 한 곡에 대해서도 다양한 타브 악보가 존재한다. 이 논문은 타브 악보를 인식하여 연주를 수행하는 휴대 가능한 시스템 설계를 제안한다. 기 연구된 악보 인식은 5선 기반의 악보를 대상으로 하였으며 수평 히스토그램을 사용하여 5선을 제거 한 뒤 나타나는 기호들을 인식했다. 본 논문에서는 6선인 타브 악보 인식 및 연주 시스템을 휴대 기기에서도 사용 가능하게 설계하여 많은 연산 양이 요구되는 선 제거 과정을 거치지 않는다. 템플릿 매칭 기법으로 전체 악보에서 타브 악보의 영역을 탐색하고, 탐지된 영역 안에서 선의 시작점을 탐색한다. 선의 시작부터 끝까지 가상 블록을 사용하여 선에 존재하는 공백을 탐지하고, 공백의 분할을 이용해 프렛을 분할하며, 프렛 인식은 프로토타입 기반 분류기를 이용하여 97.0%의 인식률을 보였다.

• Proceedings of the Korea Information Processing Society Conference
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• 2010.04a
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• pp.421-424
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• 2010

지금까지 전통음악분야의 현대적 구현은 민간 연주자들에 의하여 음악을 계승 발전시켜왔다. 특히 농악놀이에 현대적 해석을 가미한 사물놀이는 전통음악 현대화의 일등공신이다. 그러나 전통문화에 대한 공학적 분석은, 에밀레종의 맥놀이 분석, 징의 RIM깊이에 따른 음향의 변화 등 다양한 분야에서 이루어지고 있으나, 전통문화와 IT의 융합은 접근하는 사례가 전무한 실정이다. 본 논문에서는 전통음악을 현대화시킨 사물놀이를 사물놀이 고유의 풍모를 살린 전통인형과 함께 임베디드 시스템으로 제작하고, 사물놀이 연주가 수록된 정간보를 디지털악보로 변환하여 악보 내용을 바탕으로 사물놀이 인형들이 각각 사물놀이 악기를 연주하여 사물놀이 본연의 조화를 이룰 수 있는 시스템을 구현하였다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.10
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• pp.4426-4431
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• 2012

Though polyrhythm is definitely a complex form of rhythm as we all know, some forms of polyrhythm(for example, '2 against 3' or '3 against 4') are considered as simple rhythm compared with others such as '5 against 4' or '7 against 4'. It is because this kind of polyrhythm might be used as often as enough to be able to be understood and to be played. However, the polyrhythm that we are talking about in this study(I'd like to call them as complex polyrhythm) is not able to be played by someone who is not familiar with quintuplets or septuplets. Here I would like to suggest a new way of playing polyrhythm, called the 'Simulation Method'. The main purpose of this method is to easily approach the complex polyrhythm by using its mathematical similarity even though these polyrhythms are originally hard to be played due to its mathematical complexity.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.12
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• pp.8830-8835
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• 2015

As the smallest unit in the composition of any melody, motive forms the basis for melodic tunes and establishes a starting point for any creation. Among other melody composition methods, how to form a motive, change it, and refine it to develop a solo is important in playing solos, and in an impromptu jazz solo, analyzing how motive is changed and developed and using it can be a method or idea to approach a more melodic solo. This thesis consists of a thorough analysis of the kinds of developmental methods that were used to change and advance motives in three solos by Larry Grenadier, a musician who is active with creative ideas in many genres of contemporary jazz music. After such analysis, these motive development methods were applied to a rendition. Since judgment was used in the motive development methods mentioned in the introduction, elements in the methods that appeared to be motives but were impossible to analyze were excluded from the analysis, therefore making it one limitation of this study. There will be a need for future studies to overcome this limitation.