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

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.712-716
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• 2008

In this paper, we introduce a way to generate and control the serial music using stochastical tools. A serialism, which is one of composition techniques in the 20th century modern music, is composed using uniformly distributed notes or durations. To conserve this property, we design the optimization process to generate the random numbers which can be used to compose the serial music. The optimization are designed using chi-square test and auto-correlation test. User can also apply the additional constraint to the objective function for controlling the serial music. Using the our method, we can compose and control the traditional serial music automatically.

• Proceedings of the KAIS Fall Conference
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• 2010.11b
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• pp.531-534
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• 2010

본 논문에서는 1940년대 헐리웃 영화 <로라>의 특정 시퀀스를 분석함으로써 영화의 극적 요구를 음악적 어휘로 전환시키는 데 있어 작곡가들이 어떤 방식으로 작곡 기법을 적용하는가를 고찰하였다. 한개의 시퀀스를 장면 별로 나누어 고찰한 결과, 일관된 주제의 성격과 그 주제가 내포한 음악적 동기의 반복과 변형, 주제의 중단과 생략, 시종일관 모호한 조성적 구조 등의 음악적 기법이 도출된다.

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.744-748
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• 2008

In this paper, we propose a novel technique that generate a new song with given example songs. Our system use k-th order Markov chain of which each state represents notes in a measure. Because we have to consider very high-dimensional space if we use notes in a measure as a state of Markov chain directly, we exploit a hierarchical clustering technique for given example songs to use each cluster as a state. Each given examples can be represented as sequences of cluster ID, and we use them for training data of the Markov chain. The resulting Markov chain effectively gives new song similar to given examples.

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.618-622
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• 2008

In this paper, we suggest new music composition algorithm based on fractal theory. User can define and control fractal shape by setting an initial state and production rules in L-System. We generate an asymmetric fractal tree based on L-System and probability. Then a music is generated by the fractal tree image using sonification techniques. We introduce two composition algorithm using the fractal tree. First, monophonic music can be generated by mapping x and y axis to velocity and pitch, respectively Second, harmonic music also can be generated by mapping x and y axis to time and pitch, respectively Using our composition algorithm, user can easily generate a music which has repeated pattern created by recursive feature of fractal, and a music which has structure similar to fractal tree image.

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.733-738
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• 2008

Serial Music, introduced by A. Sch nberg, is a one of the important composition techniques. This music style has features of pantonality and atonality, so it generates unique atmosphere of modern music. In this paper, we introduce an method of generating serial music using mathematical algorithm. This method generates music that satisfy the requirement that the number of pitches belonged to each pitch class are exactly same, though the requirement is less strict than Sch nberg's definition. To do this, our method uses space-filling curves traversing the twelve tone matrix, which is constructed by the serial series, its inversion and its transpose. Using these curves, we can generate a music that has all notes in the matrix exactly once and adequate repeatness because of the curve's locality. Result music, therefore, can be more suitable for people that are not familiar with modern music, while maintaining the features of pantonality and atonality. This paper also introduces a method of generating extended serial music that uses serialism of duration and dynamic of notes, using multi-dimensional space-filling curves.

• Journal of the Korean Society for information Management
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• v.23 no.2
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• pp.5-19
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• 2006

The purpose of this study is to observe and analyze information searching behaviors of various user groups in different access modes for designing user-centered query interface of content-based Music Information Retrieval System(MIRS). Two expert groups and two non-expert groups were recruited for this research. The data gathering techniques employed in this study were in-depth interviewing, participant observation, searching task experiments, think-aloud protocols, and post-search surveys. Expert users, especially majoring in music theory, preferred to input exact notes one by one using the devices such as keyboard and musical score. On the other hand, non-expert users preferred to input melodic contours by humming.

• Proceedings of the KAIS Fall Conference
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• 2012.05a
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• pp.205-208
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• 2012

2차 세계대전 이후 현대음악은 기존의 12음 기법을 유지하면서 이전과는 다른 음소재(音素材)나 작법(作法)이 출현하게 되었다. 이중 온음 이내의 좁은 음정간격에서 다수의 음이 나는 톤 클러스터(Tone Cluster)는 현대음악에서 작곡기법으로 사용되고 있다. 이러한 클러스터 보이싱은 재즈음악과 대중음악에서도 종종 사용되고 있으며 본 연구를 통해 다양한 클러스터 보이싱을 만들어 보고 적용시켜 보았다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.11
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• pp.437-442
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• 2016

The marriage between music and film, both temporal art forms, demands that the inherent aspects of note in each medium are brought into correspondence within a dramatic context. In film-making, the most crucial and difficult problem a film composer faces is finding the music that seems absolutely right for the film and its characters, sequences and dramatic lines. When writing a film score, composers become musical dramatists; some have a special instinct that enables them to find the right kind of melodic line, orchestral texture, rhythmic device and musical style to bring out what they intuitively recognize as the essential aspect of the drama. In this study, several examples are cited - Alex North, Hugo Friedhofer, Bernard Herrmann and David Raksin - that underline this kinetic function of music in film. Effort is made to uncover as many possibilities as possible, so as to arrive at a better understanding of how the two media interrelate for the purpose of emphasizing the dramatic lines.

• Proceedings of the KAIS Fall Conference
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• 2011.05b
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• pp.632-634
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• 2011

조용필은 대한민국 가요계의 살아있는 역사, 전설, 가왕, 국민가수 등의 여러 호칭으로 불려지고 있으며 한국의 대중음악을 크게 발전시킨 인물로 평가 되고 있다. 그는 수많은 곡들을 직접 작사 작곡하였으며, 다른 작곡가에게 받은 곡일지라도 밴드 '위대한 탄생'과 함께 편곡 과정을 거쳐 앨범 프로듀싱까지 하였다. 대한민국 가요계에 싱어송라이터 라는 개념을 확립시키는데 지대한 영향을 미친 인물이다. 2011년 현재도 콘서트등의 공연 활동을 통해 각종 진귀한 기록들을 낳고 있으며 한국의 콘서트 문화를 정착시킨 인물로도 평가받고 있다. 이 논문에서는 조용필의 1집부터 18집까지 주요 곡들에 나타난 위대한탄생의 연주에 나타난 리듬편곡의 기법과 그 특성에 대해 알아보도록 하겠다.