• The KIPS Transactions:PartB
• /
• v.14B no.1 s.111
• /
• pp.33-42
• /
• 2007

This paper presents a new methodology for music structure analysis which facilitates rhetoric-based music summarization. Similarity analysis of musical constituents suggests the structure of a musical piece. We can recognize its musical form from the structure. Musical forms have rhetorical characteristics of their on. We have utilized the characteristics for locating musical motifs. Motif extraction is to music summarization what topic sentence extraction is to text summarization. We have evaluated the effectiveness of this methodology through a popular music case study.

• Journal of the Korea Convergence Society
• /
• v.8 no.9
• /
• pp.265-270
• /
• 2017

This study purposed to investigate harmonic compositions and progressions that are appropriate for emotion vocabulary. In study 1, eight(8) professional music therapists were asked to provide harmonic compositions and progressions reflecting the tonal characteristics of emotion vocabulary and the rationales. Various attributes of harmonic compositions and progressions were examined and the content analysis were administered. In study 2, the obtained data on study 1 were evaluated by 124 music therapy and music majors for the validity. In the first study, analyzed results showed that 'happy' vocabulary utilized major, tonic, consecutive chord changes, 'angry' vocabulary utilized minor, augmented, $9^{th}$, $11^{th}$, unsolved $7^{th}$ chord progression, 'sad' vocabulary utilized minor, diminish, chromatic chord progressions. In the second study, there was statistically significant difference with 'happy' vocabulary. These results can provide basic evidences for musical ideas of harmonic compositions and progressions to better communicate emotional aspects of lyrical messages when composing melody in a song.

• Annual Conference of KIPS
• /
• 2021.11a
• /
• pp.1387-1390
• /
• 2021

'체선'은 입항한 선박이 하역하지 못하고 대기하는 상황을 나타내는 말이며 이는 항만의 비효율성을 초래하고 금전적인 손실을 가져다준다. 따라서 본 논문에서는 기존 관제정보 API를 활용하여 체선율 분석 및 예측 시스템을 제안하고자 한다. 이를 통해 항만 시설 관리자에게는 투자방향성을 제공하고, 선박과 화주에게는 물류효율성을 제공해 줄 것으로 기대된다.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.801-833
• /
• 2019

This article has reviewed on the characteristics of the Beompae (Buddhist chanting) performed by Gyeongjaeeosan Wonmyeongchang(唱) based on the result of musical style of Gyeongjae Anchaebi-sori as defined under the previous studies. And, through the comparison with the Beompae performed by Songam-chang (唱), a same type of musical piece, it contemplates on musical differences between the two singers. Results of the study are shown as follows. of Gyeongjaeeosan Seolhoeinyu-pyeon and of Socheongsaja-pyeon are sunged as Yuchi-Seong(聲) among Anchaebi-sori. 'main melody type' and 'ending type' are generally similar to the musical characteristics of the Yuchi-Seong(聲), and the differences between the two singers are detected from main melody type D and ending type b. In particular, under of Socheongsaja-pyeon, only the type a is detected among the two types. becouse ending note of ending-type 'a' is ended with 'sol'. The basic frame of the Jjaimsae(musical form) has been clarified in the previous studies that the Jjaimsae of Yuchi-Seong(聲) has been maintained just the way it is. However, even for the same Seong(聲), the combination of the 'main melody type' of passage has not been unified, and depending on the musical piece, it has been discovered that the combination of the 'main melody type' has been diversely organized. of Gyeongjaeeosan Bongsongsajapyeon belongs to Pyeon-gae-seong(聲) broadly from the Anchaebi-sori and it is shown to be So-seong(聲) in details. In particular, in the previous studies, the 'ending melody' of So-seong(聲) and the closing melody of were similar with a slight difference for the 'ending melody'. Such a difference is relation to the characteristics for sequentially descending melody of Wonmyeong-chang(唱). The 'Jjaimsae(The musical structure)' is not much different from the previous studies, and the 'yeok-eum(weaving lyrics)' of Songam-chang(唱) has strong tendency of 3-sobak rhythm while the Wonmyeong-chang (唱) is shown the tendency of 2-sobak rhythm in general for the difference.

• Venture DIGEST
• /
• s.56
• /
• pp.10-11
• /
• 2004

어떤 주제를 바탕으로, 그 리듬이나 선율∙화음 등에 다양한 변화를 주어 새로 만든 음악을‘변주곡’이라 한다. ‘커뮤니케이션’이라는 하나의 색깔을 추구하되 그 안에서 늘 새로운 변화를 일궈온 사람, 그가 바로 카티정보 원석연 대표다. 오랫동안 스스로도 지치지 않으며 곁에 있는 직원들까지 힘나게 만드는 그의‘행복한 변주곡’이 들려온다.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.2
• /
• pp.35-46
• /
• 2021

The purpose of this research is to analyze Soon Chul Jung's children's songs, who is one of the four great children's songwriters in Korea along with Geuk Young Yoon, Nan Pa Hong and Tae Jun Park. Soon Chul Jung has contributed by actively participate into children's movement at Japanese colonial period through writing self-composed children's songs. Since children's songs are made for the age group without the sense of sound, children's songs necessitate 'easy to sing-along' melody writing process. Like so, when writing the melody that are easy to be sang along, utilization of development technique using a unit called motive can be the potent way. This method has an advantage of being sang more with ease if actively implemented, and can be done by utilizing the smallest unit of the melody called motive, especially by lightly transform and repeat the unit, consequently structuring the song altogether. To investigate and analyze this motive-based development technique of Soon Chul Jung's songs, 38 out of 40 written songs considered eligible for the research were confirmed and chosen from 'Soon Chul Jung's bibliography and choreography' and each songs were analyzed based on 17 different development techniques which were standardized in the textbook 'Melody in Songwriting' adopted as a textbook of the Berklee college of Music, and also compared these song-writing pipelines with other great songwriters' representatives mentioned above. As a result, it was almost linear that the song's pitch variation in combination with thinning or extension were used frequently and repeatedly, otherwise implicating melody duplication for more than 2 bars and motive repetition were not in his favor, while these methods were often used when writing children's songs. This finding could be viewed as a character of his songwriting.

• The Journal of the Korea Contents Association
• /
• v.19 no.5
• /
• pp.572-577
• /
• 2019

This study aims to classify and examine Changjak Gukak composed by composers who majored in Western music and help the composers with the composition of Changjak Gukak. As a result, it was investigated that Korean traditional musical elements have been used on the basis of the traditional or modern Western composition technique. The traditional composition techniques such as motive, theme, keys, homophony, contrapuntal methods, fugue form, sonata form, baroque concerto form and borrowing of Western art works have been used, and the contemporary composition techniques such as timber melody, a-tonality, irregular meter, poly rhythm and aleatory have been used. In addition, it reflects the Korean expression and identity by applying the Korean traditional instruments, Sigimsae, Jangdan, traditional scale and mode, form and melody.

• The Journal of the Korea Contents Association
• /
• v.22 no.4
• /
• pp.714-726
• /
• 2022

The purpose of this paper is to find out the way of utilizing phrases of Chinese poetry in Manjeongje and its musical characteristics. To this end, the roles of phrases contained in the Pansori words were classified into five patterns: landscape description, strengthening of pleasant emotions, strengthening of sad emotions, wordplay, and combination of various poems. As a result of analysis, phrases quoted in sad mood part consist of slow rhythm of Jinyangjo and Jungmori, and sad melody of Gyemyun-gil and Jingyemyun tone; thus, both the rhythm and melody are expressed in accordance with the mood of poems. On the other hand, the melody in the landscape description parts, and the rhythm in the joyful feeling and wordplay parts showed the characteristics of determining the mood. In addition, when applying the analysis results to the perspective of Pansori composition, it is necessary to discover novel texts, apply to editorials, and study musical implementation suitable for the original mood in order to create more artistic Pansori.

• Proceedings of the Korean Information Science Society Conference
• /
• 2004.10b
• /
• pp.229-231
• /
• 2004

내용 기반 음악 검색 시스템은 사용자가 원하는 음악에 대해 사전 정보를 모르더라도 곡의 일부로 질의를 함으로써 원하는 결과를 얻을 수 있게 한다. 그러나 내용 기반 음악 검색 시스템은 사용자의 질의에 대해 결과에 대한 순위만을 제공할 뿐 사용자의 취향이나 선호도와 같은 개인 정보를 고려하지 않기 때문에 사용자가 충분히 만족할만한 정보를 제공받지 못해 사용자의 만족도가 떨어진다. 이를 해결하기 위해 본 논문에서는 대표 선율을 이용하여 유사한 곡들로 클러스터링을 수행하고 내용 기반 검색 시 질의가 속하는 클러스터를 찾고 해당 클러스터 안에서 거리함수를 통해 질의와 유사한 곡들을 선별한다. 선별된 곡들과 사용자의 프로파일을 통해 음악 취향을 고려할 수 있는 내용 기반음악 필터링 기법을 적용하여 사용자의 만족을 증가시키는 결과를 제공한다.

• Proceedings of the KAIS Fall Conference
• /
• 2011.05b
• /
• pp.694-697
• /
• 2011

재즈음악의 즉흥연주(Improvisation)는, 재즈음악의 발생과 함께 발전되어 온 연주 형태의 하나이며, 재즈음악을 대표하는 상징적인 요소라고 할 수 있다. 대부분의 사람들에게 즉흥연주는 재즈의 가장 중요한 요소로써 여겨지고 있다. 재즈 음악인들은 종종 '재즈'와 '즉흥연주'를 같은 의미를 가진 동일 어처럼 사용하기도 한다. 한편, 재즈보컬리스트들은 기악연주자와는 달리, 즉흥연주를 하지 않아도 된다는 인식이 있는 것은 사실이다. 그러나 그 중요성에 차이가 있을 뿐, 보컬즉흥연주 역시 재즈보컬들의 특성을 다른 장르의 보컬들과 구분하는 상징적이고 핵심적인 요소임에는 틀림없다. 컬리스트의 경우, 음악이론 외에, 즉흥연주의 선율을 가창하기 위하여 필요한 또 하나의 요소가 있는데, 이는 즉흥연주의 악구를 표현하는 수단인 스캣음절이다. 본 논문에서는 즉흥연주 선율표현에 많이 사용되는 음표들과 연주기법들을 중심으로 스캣음절사용에 대하여 연구해 보고자 한다.