• Proceedings of the KAIS Fall Conference
• /
• 2009.12a
• /
• pp.115-117
• /
• 2009

대부분의 화성학 교재의 첫머리에 소개되는 배음은 그것이 가진 음악적 가치를 간과하고 과학적 수치에 근거한 자연적 현상으로 다루어지는 경향이 있다. 따라서 본 논문을 통해 배음이 가진 음악적인 중요성을 메이저 스케일의 Diatonic Chord와 Chord Scale을 중심으로 재조명 하고자 한다.

• The Transactions of the Korea Information Processing Society
• /
• v.13 no.8
• /
• pp.367-373
• /
• 2024

The growth of mobile devices and network infrastructure has brought significant changes to the music industry. Online streaming services has allowed music consumption without constraints of time and space, leading to increased consumer engagement in music creation and sharing activities, resulting in a vast accumulation of music data. In this study, we define metadata as "song sentences" by using a user's playlist. To calculate similarity, we embedded them into a high-dimensional vector space using skip-gram with negative sampling algorithm. Performance eva luation results indicated that the recommended music algorithm, utilizing singers, genres, composers, lyricists, arrangers, eras, seasons, emotions, and tag lists, exhibited the highest performance. Unlike conventional recommendation methods based on users' behavioral data, our approach relies on the inherent information of the tracks themselves, potentially addressing the cold start problem and minimizing filter bubble phenomena, thus providing a more convenient music listening experience.

• Proceedings of the Korea Information Processing Society Conference
• /
• 2024.05a
• /
• pp.731-732
• /
• 2024

본 논문은 음원 메타데이터 임베딩 방법론을 기반으로 새로운 음원 추천 방법을 제안한다. 사용자 행동 데이터를 활용한 개인 맞춤형 음악 추천 모델은 신규 사용자의 데이터가 부족할 경우, 적절한 추천이 어려운 콜드스타트 현상을 초래할 수 있다. 본 연구에서는 플레이리스트의 음원 메타데이터를 Song sentence 로 구성하고, 고차원 벡터 공간에 임베딩하여 유사도를 계산한 추천 알고리즘을 구축한다. 사용자 행동 데이터가 아닌 음원의 자체적인 정보에 근거하기 때문에 콜드 스타트 현상을 보완하여 사용자에게 편리한 음악 감상 경험을 제공할 수 있을 것으로 기대된다.

• The Korean Journal of Archival Studies
• /
• no.52
• /
• pp.171-212
• /
• 2017

Music has been created and played in various environments over a long time, with each piece having distinct sentiments and stories. Different people can have varying interpretations of one song depending on their viewpoints shaped by personal experiences and attitudes. In fact, the audience's understanding may differ greatly from the songwriter's intended message. Knowing this, music can serve as a reflection of one's contemporary sentiment. In the works of art such as music, the creator's intention becomes the background of the work or, sometimes, the main meaning. However, given that popular music is often under the control of companies and distributors and influenced by "capital," creators are required to adjust to mainstream preferences and, therefore, cannot fully express themselves in their music. On the other hand, indie music allows creators to pursue their own music given its "independence" from capital. With this, this study aims to collect and analyze data on the activities that Korean indie bands carry out, and examine their meaning and significance in society.

• The Journal of the Acoustical Society of Korea
• /
• v.28 no.3
• /
• pp.273-278
• /
• 2009

In this paper, we propose the spectral transition rate (STR) as a novel feature for speech and music discrimination (SMD). We observed that the spectral peaks of speech signal are gradually changing due to coarticulation effect. However, the sound of musical instruments in general tends to keep the peak frequencies and energies unchanged for relatively long period of time compared to speech. The STR of speech is much higher than that of music. The experimental results show that the STR based SMD method outperforms a conventional method. Especially, the STR based SMD gives relatively fast output without any performance degradation.

• MALSORI
• /
• no.42
• /
• pp.15-24
• /
• 2001

판소리의 특질을 연구하기 위하여 여덟 명창의 소리를 분석하였다. 그 결과 모두에게서 유성음임에도 불구하고 비주기성인 소리를 찾았다. 이러한 현상은 매우 높은 성대밑 공기압에 기인한다고 보았다. 이 비주기성 유성음은 명창들의 일반 대화에서도 나타나서 이러한 현상이 곧 성대의 영구적인 변화에 의한 것임을 추정할 수 있었다. 또한 판소리에서 나타나는 vibrato는 서양의 오페라에 비해 주기가 훨씬 길고 범위는 훨씬 넓음이 확인되었다. 그 외에도 모든 명창의 경우 고주파수 영역에서 매우 높은 에너지를 보여주어서 일반인의 발성과 차이가 남을 알 수 있었고, 특히 일부 명창의 경우는 1000Hz 바로 이하에서 유별나게 강한 harmonics가 나타나서 서양 음악의 소위 singer's formant와 대조를 이루었다.

• The Journal of the Korea Contents Association
• /
• v.20 no.10
• /
• pp.353-368
• /
• 2020

This research investigates how pre-service music teachers demonstrated pedagogical content knowledge (PCK) and self-efficacy during a 16-week Music Education Course. 37 pre-service music teachers underwent peer mentoring, and prepared teaching guides and class teaching demonstrations. At the end of the course, the 37 participants' teacher self-efficacy and PCK components (namely pedagogical knowledge, representational knowledge, subject matter knowledge, assessment knowledge, student characteristics knowledge, curriculum knowledge, and context and social knowledge) were assessed. Data on their self-efficacy and PCK were gathered through a group interview and their self-reflection journals, and analyzed as phenomenological experience research. Analyses of the data show that pre-service music teachers acquired diverse knowledge. It also showed that peer mentoring enhanced the pre-service music teachers' self-efficacy, enabling them to prepare teaching guides and confidently demonstrate classes. Thus, diverse opportunities in research and practical class demonstrations contributed to pre-service music teachers' PCK and self-efficacy.

• The Journal of the Convergence on Culture Technology
• /
• v.10 no.4
• /
• pp.627-637
• /
• 2024

This paper studies the Soundscape, a movement that seeks to break away from the traditional conventions of music culture. To this end, I will examine how social, cultural, and technological developments have influenced the paradigm shift in music culture by paying attention to the Soundscape. I understand the characteristics of the Soundscape as a change pattern and discuss the characteristics of hearing and listening experience that have been overlooked so far from a phenomenological perspective. For the above discussion, Murray Schafer's concept of Soundscape, and for a phenomenological understanding of hearing and listening experience, une spatialité de situation, point d'écoute, horizons au son, champ auditif, le premier plan et l'arrière-plan, temporal focus, space-time, and l'être-au-monde are discussed. I hope that understanding the characteristics of sound, hearing, and listening experience will contribute to presenting new ideas for creative expression in artistic creation.

• Korean Institute of Interior Design Journal
• /
• v.22 no.1
• /
• pp.115-123
• /
• 2013

Today, the views on Temporality of space have been changed not only to be based on the concept of time, but also to identify the space with a body adapted to the new circumstances. The study suggests that the actions of performers in space have been important by changes of views and are connected to the music phenomenology mixed with music whose tempo is the phenomenology related with of human consciousness itself, and derives the temporal property by putting them into Rem Koolhaas space with the fluid quality. According to Clifton's Phenomenology of Music, an understanding of music is made in both human body and consciousness as two ways to listen to sounds and enjoy music. Though a correlation between the characteristics of Clifton's Phenomenology of Music and one of resulted from uncertainty and immateriality of modern space Temporality, we could work out four kinds of characters which are the continuity of the fluidity from temporal programs, contrasting changes or synchronicity, the multidimensionality from synesthesia of line and face, ventilation by quality of the material and immaterial circumstances of sound effects, the implication in events resulted from cognition for information and unexpected actions, and the autonomy of the route of a variety of experiences including intimate connection of inter-related events and temporary and diverse external conditions. Hereby Temporality of musical phenomenology in Rem Koolhaas's space can be experienced by systems base oh the importance of host's motion, changes of programs according to the motion as well as uncertainty and immaterial changes. Due to the changes user's emotion and motion is undergone as Temporality that changes automatically.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.20 no.2
• /
• pp.218-227
• /
• 2019

The term practical means that you actually use what you learn. Unlike that meaning, however, the curriculum is operated by specific majors of some professors. And we can be seen in many colleges. Jazz is a prime example. Jazz is a genre only for some maniacs and there is not much places to play on the pop scene. But this genre is now packaged as representative studies of practical music. This affects even cram schools, preparing for college entrance exams, while high school students are also learning, playing and preparing Jazz to take the exams. Of course, Jazz is a field of music, but it is a very sad reality, considering it can never be the mainstream of popular music. It has been 20 years since the department of practical music was established at a four-year university. The number of graduates will also be very large. Now that the role of a university is related to employment, it's time to look at how the graduates are getting jobs and whether they are working in music. And it will also be important to ensure that the curriculum of the department is reasonably managed to connect with employment in reality. Practical learning will be not only respond immediately to market changes but establishment and operation of education courses should be carried out accordingly. In this study, we will discuss curriculum of vocal at universities, concrete examples of operations, and reasonable vocal courses that can be connected to employment.